전 안견 필 〈설천도〉와 조선 초기 절파 화풍의 수용 양상

Abstract

This essay explores how the early Zhe School manner was introduced and received in 15th- and 16th-century Korea by closely examining the style and theme of Snowy Sky attributed to the great master An Gyeon (active ca. 1440-1470), now in the National Museum of Korea. Snowy Sky is currently included in an album of paintings by various painters both Chinese and Korean. The painting shows a bleak winter landscape at dusk with a twisting and turning mountain, an empty pavilion, buildings under pines, and distant peaks. The lonely and desolate atmosphere, the cold weather, and the evening sky and landscape blanketed by snow in Snowy Sky strongly recall the scene of “River and Sky in Evening Snow” or “River and Sky, Evening Snow,” one of the “Eight Views of the Xiao and Xiang Rivers.” In style, this painting bears a striking similarity to “River and Sky in Evening Snow,” one leaf from the Eight Views of the Xiao and Xiang Rivers album, attributed to An Gyeon, in the National Museum of Korea. In all likelihood, Snowy Sky, once part of the Eight Views of the Xiao and Xiang Rivers album, has been transmitted as a single landscape painting since the album was split up. As a result, the painting has lost its identity as one of the “Eight Views of the Xiao and Xiang Rivers.” It is interesting to note that the sharply defined and angular peaks in the distance in Snowy Sky are often found in landscape paintings by early Zhe school masters such as Dai Jin (1388-1462). The landscape motif is one of the stylistic hallmarks of Dai Jin. Although An Gyeon’s stylistic influence is clearly manifested in Snowy Sky, the appearance of Dai Jin’s pictorial manner is noteworthy. Snowy Sky shows the transition from the dominance of the An Gyeon School manner to the growing popularity of the Chinese Zhe School style.