이재의와 최헌수의 《금강산도첩》: 정선의 회화적 유산과 그 계승의 한 양상

Abstract

The Geumgangsan docheop (Album of Mount Geumgang) is a set of 13 paintings and 10 poems of Mount Geumgang, which dates back to the year 1832 and is today in the collection of the National Folk Museum of Korea. It imitates the Sinmyonyeon Pungak docheop (Album of Mount Pungak in the Sinmyo Year) in the National Museum of Korea, originally painted in 1711 by Jeong Seon (1676-1759), an eminent painter of true-view landscape painting in the 18th century. The producers of the Geumgangsan docheop have been identified as Yi Jaeui, a Confucian scholar from a prestigious clan of the Noron (Old Doctrine) in late Joseon Korea, as well as the painter Choe Heonsu. Yi Jaeui’s son had married a descendant of Sin Taedong (1659-1729), who had commissioned Jeong Seon’s Sinmyonyeon Pungak docheop in 1711 and was also a member of the Noron community. Through this personal connection, Yi Jaeui was able to access the Sinmyonyeon Pungak docheop and create the Geumgangsan docheop. During the 19th century, Jeong Seon’s influence on the art world declined. Nevertheless, some scholars, particularly those from the Noron faction, who had inherited and appreciated his work for generations, continued to value Jeong’s paintings and kept his artistic heritage alive in their cultural circles. The cultural atmosphere of the Noron circle, which highly valued the trip to Mount Geumgang and Jeong Seon’s topographical landscapes of it, played a significant role in the creation of the Geumgangsan docheop. Although his influence had declined by the early 19th century, Jeong Seon's paintings were still highly regarded within the circle of Noron scholars. The creation of the Geumgangsan docheop by Yi Jaeui and Choe Heonsu awakens our interest in the transmission and recognition of Jeong Seon’s paintings during the 19th century.