교유와 합작: 동기창과 진계유 집단 그리고 증경과 항성모의 초상 제작
Friendship and Collaboration: Dong Qichang and Chen Jiru’s Circle and Zeng Jing and Xiang Shenmo’s Portrait Production
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명말(明末) 강남(江南)에서 문인 문예의 부흥을 주도했던 동기창(董其昌, 1555-1636)과 진계유(陳繼儒, 1558-1635)는 초상화가 개인은 물론 집단의 정체성을 표상하는 데 중요한 상징물임을 잘 알고 있었다. 본인이 주창한 이론대로 남종화(南宗畵)적 산수화를 주로 그렸던 동기창이나 화가보다는 저술가에 가까웠던 진계유는 자신들의 초상화 제작을 당시 초상화의 명수(名手)였던 증경(曾鯨, 1564-1647)에게 일임했다. 증경은 1620년대를 전후하여 강남 예술계를 이끌던 두 거목인 동기창과 진계유의 초상화를 그리게 되면서 초상화가로서의 전성기를맞게 된다. 동기창의 《추흥팔경도책(秋興八景圖冊)》에 권두 초상화로 삽입된 〈동기창초상〉은 증경이 초상을 그리고 항성모(項聖謨, 1597-1658)가 산수 배경을 그려 넣은 합작 초상화이다. 동기창의 망년우(忘年友)였던 항성모는 자신이 애호했던 소나무를 배경의 주요 수종으로 그려 넣어 동기창이 은일 기간에 유지했던 지조와 예술혼을 상징적으로 나타냈다. 증경은 명말의 지식층 사이에서 은일하는 문사로 유명했던 진계유를 학과 함께 화로 옆에서 겨울의 추위를 견디는 은자로 묘사했다. 동기창과 진계유는 초상화의 대상이 되는 데에 머무르지 않았다. 두 문인은 주변 인물들에게 증경을 소개해 주고 초상화를 그리게끔 했으며 직접 화상찬(畵像讚)을 써 주기도 했다. 동기창과 진계유의 화상찬이 쓰인 시패(施沛, 1585-1661)의 초상화가 그러한 예 중 하나이다. 특히 전기적 글쓰기와 초상화 간의 긴밀성을 설파한 바 있는 진계유는 증경이 그린 초상화에 화상찬을 써넣는 형태로 일종의 협업을 했던 것으로 추정된다. 〈청림고회도(靑林高會圖)〉가 보여주듯이 초상화는 동기창과 진계유를 구심점으로 한 집단의 유대와 동류의식을 표상하는 데에도 활용되었다. 항성모와 증경의 제자인 장기(張琦, 17세기 중반 활동)가 그린 〈상우도(尚友圖)〉는 동기창과 진계유를 중심으로 한 지식인 집단의 실체를 회화적으로 증명한 작품이다. 항성모는 증경의 유산을 계승하여 그린 〈상우도〉를 통해 동기창, 진계유 및 자신이 속한 집단의 동지애와 문예적 성취를 기념하고, 더 나아가 명청(明淸) 교체기에 맞닥뜨린 그들이 지키고자 했던 한족(漢族)의 유구한 역사를 소환해 내었다.
Abstract
Dong Qichang (1555-1636) and Chen Jiru (1558-1639), two of the leading arbiters of cultural and artistic taste in late Ming Jiangnan, recognized Zeng Jing’s (1564-1647) artistic prowess and commissioned their portraits. By virtue of his association with Dong and Chen, Zeng enjoyed immense prestige as a portraitist among friends of the celebrated pair as well as the broader community of Jiangnan intellectuals. Dong’s portrait attached to his 1620 album of landscape paintings was a collaborative work between Zeng and Xiang Shengmo (1597-1658). It might have been Xiang’s suggestion to depict Dong standing among tall pine trees, which could serve to symbolize Dong’s steadfastness in political adversity. Prefacing the collection of Dong’s landscapes with Zeng and Xiang’s frontispiece portrait of the reclusive artist, this album monumentalizes Dong’s retired life and artistic achievements of the time. Chen was well known for cultivating the image of the lofty recluse, and Zeng portrays Chen as a resilient recluse enduring the hardship of a cold winter. The inclusion of a crane, coupled with the painting’s winter setting, serves to emphasize Chen’s noble character in a turbulent age. Portrait of Shi Pei is the earliest known portrait by Zeng that contains encomia by both Dong and Chen. Their portrait encomia praise Shi Pei’s (1585-1661) medical skills. Zeng portrayed Shi as a physician checking his pulse. Many members of Dong and Chen’s coterie in Huating, like Shi, sat for portraits by Zeng. A number of these portraits bear Dong and Chen’s encomia. The literary celebrity Chen, whose encomia frequently appear on Zeng’s paintings of the 1620s and 1630s, played a particularly important role in promoting Zeng’s work as a portraitist. Dong, Chen, Xiang, and their coterie seem to have perceived portraiture not only as a means of fashioning their self-images but also sharing a sense of camaraderie with their friends. The 1652 group portrait Venerable Friends, currently in the Shanghai Museum, showcases a manifestation of friendship through pictorial representation among Dong and Chen’s circle. Venerable Friends, a collaboration between Xiang and Zeng’s disciple Zhang Qi (active mid-17th century), highlights Dong’s and Chen’s intimate companionship and their pivotal role in the elite group of late Ming Jiangnan.
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