八大山人의 山水畵에서 仿古의 의미 — 1690년대 이후 題畫詩를 중심으로

Abstract

This study examines the meaning of fanggu(仿古, imitating antiquity) in the landscape paintings of Bada Shanren (八大山人, 1626-1705), focusing on his inscribed poems(題畫詩) from the 1690s onward. While Bada Shanren’s artistic world has been evaluated for its individuality and originality, insufficient research has been conducted on the aspects and meanings of fanggu in his landscape paintings. This study investigates the multilayered meanings of Bada Shanren’s fanggu through analysis of his landscape paintings and inscribed poems from the late 1690s. The research reveals that fanggu held four interconnected meanings for Bada Shanren. First, it served as a artistic language for expressing his identity as a yimin(遺民, remnant subject). Second, it was a pictorial practice of reconstructing the lost landscapes of the Ming dynasty. Third, it functioned as a spiritual cultivation process that sublimated inner suffering. Fourth, it was an artistic methodology for creating his distinctive landscape painting style. By consciously inheriting the lineage of Yuan dynasty literati painting—including Dong Yuan(董源), Huang Gongwang(黃公望), and Ni Zan(倪瓚)—through Dong Qichang(董其昌)’s Southern School theory, he sought to maintain the legitimacy of Han Chinese culture under foreign rule. Bada Shanren’s fanggu in his landscape painting was not mere stylistic imitation but a creative succession of tradition and a cultural practice that transformed the suffering of his era into artistic achievement.