조선시대 『海內奇觀』의 수용과 화단에의 영향

Abstract

This paper examines the transmission of Joseon in the collection of landscape engravings Haenaegigwan(海內奇觀) and its possessors, and the influence it had on the 17th century real-scenery landscape painting(實景山水圖) and the 18th century Jeong Seon’s(鄭敾) true-view landscape painting(眞景山水圖). Haenaegigwan is a book edited and published by Yangijeung(楊爾曾) of Jeolgang province(浙江) in 1609 in China, and famous mountains and scenic spots, including the five mountains(五岳), appear along with poems(詩文). It can be classified as a major collection of landscape engravings with many real-sceneries especially of the south of the river(江南). Haenaegigwan was purchased by Go Yong-hu(高用厚) during his visit to Yanjing (燕京) in 1631, and he gave it as a gift to Jeong On(鄭蘊), a prominent scholar of the Namin Semiotics School. Jeong On’s possession is notable for its relationship to Josok(趙涑), which was famous painting in that period. Josok appears to have referenced Haenaegigwan in collecting separate beautiful locations, including Mt. Geumgang, into one scene. It is also likely that the painting was influenced by thebook in terms of its real-scenery landscape painting structure and techniques, andthe drawing of Josok’s real-scenery landscape, which became a celebrated painting, most likely had significant impact on the world of artists. By the 18th century, Haenaegigwan appears to have become popularized to the pointthat people such as Gim Chang-heup(金昌翕) could talk about the book in detail. In particular, Gim Chang-heup’s father Gim Su-hang(金壽恒) was very close to Go Yong-hu, who possessed Haenaegigwan, and he is notable for his involvement in theproduction of “real-scenery landscape painting of Bukgwan” by Han Si-gak(韓時覺). Jeong On had possessed Haenaegigwan, but as it went through different owners, its engravings scattered and exfoliation became severe. Then the book was restored into a longer six volume collection and treasured at around 1770 by Yi Jong-ak(李宗岳), who lived a secluded life in Yeongnam region but became famous for his scholarship and artistry. The preface(序文) by Yi Sang-jeong(李象靖) and the epilogue(跋文) by Yi Jong-ak that were added at this time showed how the book came into Joseon, who its possessors were, and that it continued to be an object of artistic enjoyment until the late 18th century. The relationship between Haenaegigwan and the 17th century real-scenery landscape painting was examined through the structures and expressions of rocky mountains in “real-scenery landscape painting of Bukgwan,” such as Han Si-gak’s “Chilbosanjeondo(七寶山全圖)” and “Gimgangbongdo(金剛峰圖).” In the 18th century, Jeong Seon, who was very close to the Gim family of Andong, such as Gim Su-hang and Gim Chang-heup, produced his true-view landscape painting(眞景山水圖) and thereby inherited the tradition of the 17th century real-scenery landscape painting. He referenced various painting engravings that came from China, such as Gosihwabo(『顧氏畵譜』), Dansihwabo(『唐詩畵譜』), Haenaegigwan (『海內奇觀』), and Myeongsando(『名山圖』) to achieve his unique true-view landscape style of painting. In particular, the question of how well Haenaegigwan was accepted was examined in detail by looking at Jeong Seon’s “Pungakdocheop(楓嶽圖帖),” which was produced in 1711. The book’s influence was conjectured from such things as the application of “V” shape and circle composition, the mountain forms, or the expressions of a rocky mountain. Specifically, the characteristics seen in “Pungakdocheop(楓嶽圖帖)” came to be expressed in exaggerated or strong drawing lines afterwards and became known as the characteristics of true-view landscape painting, and those characteristics continued to influence the succeeding artists and anonymous folk paintings not only in the 18th century but also in the 19th century as well.