정선(鄭敾)의 《신묘년풍악도첩(辛卯年楓嶽圖帖)》: 1711년 금강산 여행과 진경산수화의 형성

Abstract

A lack of literary evidence and inadequate information of his early artworks discourages further study of the formation of Jeong Seon’s true-view landscape paintings. Under the circumstance Album of Mount Geumgang in the Autumn of the Year of Sinmyo (辛卯年楓嶽圖帖) in the collection of the National Museum of Korea deserves scholarly attention because it is the earliest known dated work by Jeong Seon in 1711 when he first visited Mount Geumgang. I examine written record and newly discovered evidence in order to identify the recipient of the album. Based on a thorough investigation, I assert that Baekseok-gong (白石公) who was accompanied by Jeong Seon on his trip to Mount Geumgang in 1711 is Sin Taedong (辛泰東, 1659-1729). He was Jeong Seon’s neighbor who lived close to Daeeun-am (大隱岩) located at the foot of Mount Bukak (北岳山). My study not only uncovers Jeong Seon’s first travel to Mount Geumgang, but it also supports the assumption that Kim Changheup (金昌翕, 1653-1722) and Kim Sibo (金時保, 1658-1734) possibly traveled Mount Geumngang with Joeong Seon in 1711. The fact that two Kims are travelling companion of Jeong Seon’s trip to Mount Geumgang is worthy to note because they composed a considerable number of valuable poems regarding Mount Geumgang. Based on poems written by literati accompanying Jeong Seon, this paper attempts to trace back Jeong Seon’s travel route and to arrange leaves of the album in chronological order. Consequently, the newly organized album reveals gradual changes in his painting style. The early paintings such as Chongseok Pavilion (叢石亭), show the influence of the traditional style of real-view landscape painting prevalent in 17th century. On the contrary, the paintings done in the latter days of his journey, such as Jangan Temple (長安寺), are more closely related to his own real-scenery painting style, the socalled Jingyeong (眞景). It is known as Jeong Seon’s unique painting style that adapts the brush techniques of the Southern School painting to depict true scenery. Complicated style of painting as seen in Album of Mount Geumgang in the Autumn of the Year of Sinmyo implies that Jeong Seon developed his own style of true-view landscape painting during his first visit to Mount Geumgang in 1711. What led him to establish his own painting style? It is directly related with his travel to Mount Geumgang. In the early 18th century, Mount Geumgang was one of the most inspiring places among artists in the Joseon society. The aforementioned two literati who traveled Mount Geumgang were also eminent poets. The firsthand experience to witness the splendid scenery and the artistic exchanges with literati inspired Jeong Seon to develop his Jingyeong style and to represent his impression of nature in paintings. The other factor is associated with Jeong Seon’s criticism against the conventional painting style of professional painters. According to the record of Jeong Seon’s life and art written by Jo Yeongseok (趙榮祏, 1686-1761), one of the most brilliant painter, Jeong Seon claimed that the repetitive custom of drawing real-view painting prevalent in the previous period failed to depict unique and diverse aspects of real scenery. He tried to overcome the limitation of this artistic convention. In order to find an innovative way to capture true aspects of nature, Jeong Seon closely observed scenery around him and incorporated the aesthetics and painting style of the Southern School such as brush techniques, texture strokes and composition into his artworks. In sum, Album of Mount Geumgang in the Autumn of the Year of Sinmyo (辛卯年楓嶽圖帖) reflects Jeong Seon’s artistic accomplishment. It is the establishment of the style of true-view landscape painting, the most Koreanized style of art. In addition, the painter’s achievement makes him one of the most remarkable artists in the history of East Asian art.