청화백자 산수문(山水文)과 노론이 만든 영조(英祖) 신화

Abstract

Porcelains with underglaze cobalt-blue decoration of landscapes are believed to have become popular after the 18th century. However, there is still a lot of controversy as to when porcelains with underglaze cobalt-blue decoration of landscapes began to be produced and on what topics. This paper focuses on the record that King Yeongjo (r. 1724-1776), when he was a prince, drew two landscape paintings in ink on a very small piece of paper and then had his servant create a small jar for him. The source of this anecdote is a record written in 1724 by Kim Simin (1681-1747) in an album made from the five porcelain sketches of King Yeongjo that he owned. There is no evidence that the sketches for making potteries that Kim Simin possessed were drawn by King Yeongjo during his time as Yeoninggun (Prince Yeoning). Whether they were the works of King Yeongjo, or whether they were passed down as such, or whether Kim Simin claimed that the anonymous sketches were painted by King Yeongjo himself. Kim did not specify the subject of the landscapes, unlike the flower paintings, part of the sketches for making potteries that were identified as orchid, chrysanthemum, and plum blossoms. This may be because the landscape drawings were typical, featureless landscape sketches drawn in ink on very small paper. It has been understood that porcelains with underglaze cobalt-blue decoration of landscapes were mainly depicting the Eight Views of the Xiao and Xiang Rivers preferred by the elites of the Joseon dynasty. However, the main scenes shown in the porcelains with underglaze cobalt-blue decoration of landscapes are of “Autumn Moon over Lake Dongting” and “Zhang Han Leaving for Jiangdong” in theme. It is possible that the blue and white wares depicting landscapes began with these two scenes rather than the eight scenes. It is difficult to find any clues that contemporary appreciators particularly preferred the paintings of “Autumn Moon over Lake Dongting” among those of the Eight Views of the Xiao and Xiang Rivers. In addition, designs on ceramics are thought to follow the pictorial trends of the time, but the scene of “Zhang Han Leaving for Jiangdong” is a theme of landscape painting that has not been seen in the works of painters since the reign of King Sukjong (r. 1674-1720). If the porcelains with underglaze cobalt-blue decoration of landscapes were not modeled after the landscape paintings prevalent at the time, how was the combination of these two themes achieved? In order to infer this point, this paper focused on the intention of the inscriptions written on the album leaves by Kim Simin of the Andong Kim clan after he created the album of King Yeongjo's sketches immediately after the ruler’s accession to the throne. When approached in the cultural context of the time when the myth about King Yeongjo was being newly created, extensive art historical interpretations of the subject matter, style, and the time of production of porcelains with underglaze cobalt-blue decoration of landscapes can be deepened.