김홍도 필 〈기로세련계도〉와 ‘풍속화’적 표현의 의미

Abstract

Gathering of Elderly People at Manwoldae, one of the major works of Kim Hongdo (1745-after 1806) in his later years, is a painting that commemorates the meeting held for 64 elderly men of Gaeseong in the ninth month of 1804 at Manwoldae, right under Songaksan (Mount Songak). The painting depicts a huge awning put up against the background of Mount Songak under which numerous elderly men are densely seated in a square. Kim Hongdo meticulously depicts the onlookers and beggars outside the awning in various postures and gestures whilst showing all the main figures in the exact same position. Such realistic portrayal of the minor figures has essentially allowed the painting to receive great acclaim without much analysis of the title or its scene. Despite the realistic rendering of figures in Gathering of Elderly People at Manwoldae, Kim Hongdo produced this painting according to the preface of the meeting written by those who had organized the event. While Kim Hongdo created the painting, Hong Uiyeong (1750-1815) wrote an inscription. Hong used a quote from Yu Hanji (1760-1834) who stated “the content of the preface was so vivid and great that I felt as if I were there watching.” The preface no longer exists, but it is apparent that both Kim Hongdo and Hong Uiyeong were able to create their works based on it. However, there is no mention in Hong Uiyeong’s inscription of the elements of a typical genre painting. His description of the event is different from what is represented in the painting as he mentioned Manwoldae, the main setting of the event, as a site in ruin with withered grass. Hong’s inscription is no more than a description of an ordinary scene in a typical Gathering of Retired High- Ranking Senior Officials. This implies that the lost preface was the source of information for both Hong Uiyeong’s inscription and Kim Hongdo’s painting. The lost preface could have included accurate descriptions of the figures inside the awning. But it does not seem to have described the figures outside the awning. It is interesting to note that Kim Hongdo even paid great attention to the two beggars when he created this painting. His realistic rendering of minor figures outside the awning is remarkable. He was at liberty to add new elements to the painting. This makes the painting different from what is mentioned in Hong’s inscription. There is a difference between text and image. Kim invented his own visual strategies for carefully depicting the postures and gestures of figures. In doing so, he succeeded in turning this documentary painting into a genre painting. This paper explores how Kim used his visual strategies in the making of Gathering of Elderly People at Manwoldae and how his realistic rendering of figures and landscapes played a significant role in the creation of a pictorial record of the event within the larger context of political and socioeconomic changes of the noble houses of Gaeseong.