책가도와 책거리의 시점(視點)에 따른 공간 해석

Abstract

Chaek-ga-do was introduced from Ching China to Korea during the Joseon period. At this time western styles of painting were being introduced to Asia. Although Chaek-ga-do was originated by painters of the Royal Court, these paintings have been copied repeatedly. By way of this process, Chaek-ga-do has undergone great stylistic transformations. Examples of this include the scatter, table and tent, and flatness style. These changes took place both unintentionally and intentionally through creative modification. In addition, as the concept of western perspective began to fuse with traditional parallel perspectives and inverse perspectives, Chaek-geo-ri paintings began to be differentiated from the original copies of the Royal Court. As a result, the unique handling of space associated with Chaek-geo-ri began to develop. In the spaces of Chaek-ga-do in the 18th century and Chaek-geo-ri in the 19th century, were reflected the collective desire of the upper classes for “scholarship.” This desire was affected by the bibliographical studies and epigraphy of 18th-19th century China. These painters were influenced by a great fad in the paintings and literature of Joseon at that time, the idea that human nature is equal to the nature of things (In-mul-seung-dong-ron). As well, they were influenced by the political ideology of the Nak-ron party that had been in power at the time. The creed of admiration for books was refined into the unity of the ‘I’ (the subject, a seeing person) with ‘things’ (objects). In order to be integrated into the nature of things, the 'I' adopted parallel perspectives and inverse perspectives. Consequently, the distance between the subject and objects disappeared. In other words, the subject was able to be perfectly united with things. In conclusion, these characteristics of Chaek-ga-do and Chaek-geo-ri demonstrate that, rather than simply being regarded as ornamental cultural items of the upper classes, these paintings should be re-evaluated as historical documents reflecting the late Joseon society whose cultural self-esteem, consciousness and ideologies may be symbolized by “Myeong,” the essence of sino-centrism since the 17th century.