손기양 학맥의 상징과 현창, 《七灘亭十六景畵帖》
The Representation of Son Gi-yang’s Scholarly Lineage : The “Album of Sixteen Views around Chiltanjeong”
0
조회
0
다운로드
4
인용
0
참고문헌
키워드
초록
The “Album of Sixteen Views around Chiltanjeong” was produced by Son Gi-yang's fifth-generation grandson, Son Sa-ik. The album consists of two versions. One of them is 16 landscape paintings worked by an unknown painter in Miryang, including the preface and poetry written by Yi Ik in 1754, while the other is the poems by Kang Se-hwang and Lee Hyun-hwan on 16 landscape views by Kang Se-hwang painted by Yi Ik's request. This album shows 16 landscapes around the Pavilion Chiltanjeong, but it is also in line with the trend of the production of Gugokdo in the 18th century, which was proposed by his students to inherit his academic background, led by a scholars such as Yi Ik. From the end of the 18th century, to unite the academic background and to hold memorial service by scholars who succeeded Son Gi-yang in Miryang. Son Sa-ik's effort to link the “Album of Sixteen Views around Chiltanjeong” with Yi Ik is closely related to the origin of the school network that leads to Yi Hwang, Jeong Gu, and Yi Ik. It is not clear when Kang Se-hwang painted the paintings, but it is believed that it was painted when Kang actively participated in literary activities with members of the circle of Yi Jae-deok, a descendant of Yi Ik. Kang was close to the Yeoju Yi clan when he lived in Ansan. The background of the production of this album could be understood from the perspective of the relationship between Son Gi-yang’s school and the Geunginamin(近畿南人) school led by Yi Ik. This is an important example of how to represent the images of the scholarly lineage in the Yeongnam region of the 18th century.
Abstract
The “Album of Sixteen Views around Chiltanjeong” was produced by Son Gi-yang's fifth-generation grandson, Son Sa-ik. The album consists of two versions. One of them is 16 landscape paintings worked by an unknown painter in Miryang, including the preface and poetry written by Yi Ik in 1754, while the other is the poems by Kang Se-hwang and Lee Hyun-hwan on 16 landscape views by Kang Se-hwang painted by Yi Ik's request. This album shows 16 landscapes around the Pavilion Chiltanjeong, but it is also in line with the trend of the production of Gugokdo in the 18th century, which was proposed by his students to inherit his academic background, led by a scholars such as Yi Ik. From the end of the 18th century, to unite the academic background and to hold memorial service by scholars who succeeded Son Gi-yang in Miryang. Son Sa-ik's effort to link the “Album of Sixteen Views around Chiltanjeong” with Yi Ik is closely related to the origin of the school network that leads to Yi Hwang, Jeong Gu, and Yi Ik. It is not clear when Kang Se-hwang painted the paintings, but it is believed that it was painted when Kang actively participated in literary activities with members of the circle of Yi Jae-deok, a descendant of Yi Ik. Kang was close to the Yeoju Yi clan when he lived in Ansan. The background of the production of this album could be understood from the perspective of the relationship between Son Gi-yang’s school and the Geunginamin(近畿南人) school led by Yi Ik. This is an important example of how to represent the images of the scholarly lineage in the Yeongnam region of the 18th century.
참고문헌 (57)
- 柳昌睦, "七灘亭十六景畵帖", 密陽文化, 4, pp.142~162 (2003), 密陽文化院
- 최경환, "화가의 자작 제화시와 화면상의 이미지의 재산출 방향(1) - 강세황의 <칠탄정십육경도시>를 대상으로 -", 韓國古典硏究, (22), pp.357~390 (2010), 한국고전연구학회
- 최경환, "화가의 자작 제화시와 화면상의 이미지의 재산출 방향(2) -강세황의 <칠탄정십육경>시를 대상으로-", 韓國古典硏究, (24), pp.191~226 (2011), 한국고전연구학회
- 최경환, "「七灘亭十六景圖」와 李瀷의 「七灘亭十六景」 詩의 비교(1) - 화면상의 풍경과 시적 풍경의 관계 양상을 중심으로 -", 동양한문학연구, 51(51), pp.277~309 (2018), 동양한문학회[DOI]
- 최경환, "「七灘亭十六景圖」와 李瀷의 「七灘亭十六景」 詩의 비교(2) -화면상의 풍경과 시적 풍경의 관계 양상을 중심으로-", 동양한문학연구, 53, pp.307~341 (2019), 동양한문학회[DOI]
- 이경화, "강세황 연구", 박사, pp.2016
- 김수진, "밀양 칠탄정 경영과 칠리탄 16경의 경관특성", 한국전통조경학회지, 37(3), pp.22~36 (2019), 한국전통조경학회[DOI]
- 채제공, "樊巖先生集 권32, 序, 聱漢集序", ~
- 정약용, "다산시문집 권16, 墓誌銘, 聱漢先生昌原都護府使孫公 起陽 墓誌銘", ~
- 南景羲, "癡庵集 권11, 墓誌, 務功郞濬源殿參奉李公墓誌銘", ~
- 장동표, "17세기 초반 밀양 재지사족 孫起陽의 향촌활동", 한국민족문화, (34), pp.171~201 (2009), 한국민족문화연구소
- 손기양, "聱漢集 권3", ~
- 장동표, "임진왜란 전후 밀양 재지사족의 동향", 역사와 현실, (55), pp.237~281 (2005), 한국역사연구회
- "禮林書院誌, 書院沿革", ~
- "광해군일기 권33", ~
- 鄭景柱, "嶺南樓題詠詩文", pp.164~165 (2002), 밀양문화원
- 손기양, "聱漢集 권2, 詩, 輟釣錄", ~
- "後漢書 권83, 逸民列傳, 嚴光", ~
- 한명기, "광해군대의 대북세력과 정국의 동향", 한국사론, 20, pp.269~342 (1988)
- 김성우, "광해군 대 정치 지형의 변동과 경상도 禮安 士族들의 대응", 역사학보, (226), pp.119~154 (2015), 역사학회[DOI]
- 李文炤, "近思錄集解 권4, 存養", ~
- "宋史 권298, 陳希亮列傳", ~
- "聱漢集附錄, 遺事(『密州誌』, ｢鄕賢｣)", ~
- 孫寧秀, "七灘誌" (1989), 第一文化社
- 孫寧秀, "七灘誌" (1989), 第一文化社
- 孫寧秀, "七灘誌 권1, 亭名及建修事實", ~
- 李祚潤, "七灘誌 권1, 密陽士林呈繡衣狀", ~
- 安孝善, "七灘誌 권1, 密陽士林呈繡衣狀(3)", ~
- 安景器, "七灘誌 권2, 密陽鄕校通文", ~
- 黃龍源, "七灘誌 권2, 七灘亭堂會發文", ~
- 손팔주, "<칠탄지> 소재 한시 연구", 동양한문학연구(舊 부산한문학연구), 6, pp.113~114 (1991)
- 이익, "성호전집", ~
- 李光靖, "聱漢集, 聱漢集序", ~
- 孫思翼, "聱漢集, 文集後識", ~
- 孫鐘夏, "聱漢集, 文集後識", ~
- 孫思翼, "竹圃集 권5", ~
- 정은진, "蟾窩 李玄煥의 詩論", 대동한문학(大東漢文學), (23), pp.247~280 (2005), 대동한문학회 (구.교남한문학회)
- 정은진, "18세기 근기(近畿) 지식인의 인장(印章) 관련 담론 연구 - 근기 소북·남인계 인물을 중심으로", 한국학논집, (69), pp.45~92 (2017), 한국학연구원[DOI]
- 이현환, "近畿實學淵源諸賢集 6" (2002), 성균관대 대동문화연구원
- 정은진, "<檀園雅集>에 대하여", 漢文學報, 9(1), pp.387~413 (2003), 우리한문학회
- 정은진, "聲皐酬唱錄을 통해 본 豹菴 姜世晃과 星湖家의 교유 양상", 동양한문학연구, 22(22), pp.337~374 (2006), 동양한문학회
- 蔡濟恭, "樊巖先生集, 星湖李先生墓碣銘", ~
- 金鍾錫, "近畿 退溪學派 연구를 위한 예비적 고찰-星湖 李瀷의 學問淵源과 退溪學 수용 양상", 퇴계학보, 111, pp.193~237 (2002), 퇴계학연구원
- 김형찬, "근기실학의 학문 연원과 퇴계학의 학문 정신 ― 이익과 정약용의 퇴계학 계승을 중심으로", 국학연구, (21), pp.9~32 (2012), 한국국학진흥원[DOI]
- 정은주, "《영사정팔경도(永思亭八景圖)》의 문화적 함의와 회화적 특징", 한국학, 39(3), pp.139~174 (2016), 한국학중앙연구원[DOI]
- 최경환, "樓亭集景詩의 창작 동기와 樓亭의 공간적 특성―竹西樓, 息影亭, 七灘亭을 중심으로―", 동양한문학연구, 22(22), pp.375~416 (2006), 동양한문학회
- "밀양문화원"[URL]
- 조규희, "조선 유학의 ‘道統’의식과 九曲圖", 역사와경계, (61), pp.1~24 (2006), 부산경남사학회
- 孫寧秀, "七灘誌" (1989), 第一文化社
- "事文類聚 後集 卷27, 菓實部, 橘中之樂", ~
- 孫寧秀, "七灘誌" (1989), 第一文化社
- "新增東國輿地勝覽 권26, 慶尙道, 密陽都護府", ~
- 李晩燾, "향산집 별집 권6, 行狀, 竹坡李公行", ~
- 李鍾祥, "定軒集 권15, 記, 柏谷齋記", ~
- 金濟潤, "月淵集 권2, 부록, 月淵臺十二景", ~
- 洪晟, "月淵集 권2, 부록, 雙鏡堂重修記", ~
- 柳厚祚, "月淵集 권2, 부록, 月淵臺重建記", ~