청대 문인화관의 쇄신— 옹방강(翁方綱)을 중심으로

Abstract

This paper is about an aesthetic principles of mid-Qing dynasty scholars’ criticism on Chinese paintings with the case of Wen Fang Gang’s. Wen, leading scholar in mid-Qing dynasty, wrote abundant of writings on painting works on numerous sources of information from books and friends, famous collectors on that days. He criticised Tong Qi Chang’s renowned painting theory, so called theory of northern and southern painting schools strongly suspected to divide painters according to their social classes. Wen tried to reset the definition of scholar painting with the two rules, scholastic moods and calligraphic brush strocks applied to painting ones excluding social classes of painters implicit under the genealogy of scholar -painters set by Tong. He also split Four Wang meaning four authentic scholar painters succeeding Tong’s theories and paintings In early Qing dynasty and pointes out and praised Wang Hui of Four Wang as synthesizing northern and southern painting schools. Spreading his own arguments to painters and collectors familiar to himself, Wen Fang Gang carried out intellectual responsibilities respecting and enlighten his contemporary.