조선후기 산수기행문예에 나타나는, ‘奇’의 추구

Abstract

The term “qi(奇)” is found often in the travelogue by Kim Changhyop(金昌協1651-1708), Kim Changhup(金昌翕,1653-1722), and the followers of the Kim brothers, well-known as an influential literati group in the 18th century of the Choson. They employed “qi” when they met beautiful scenery or excellent expression in the travelogues, leading a painter Chong Son 鄭敾(1676-1759) to produce plenty of real scenery paintings worthy of praise as “qi.”The definition of “qi” is “strange.” “qi” had not been regarded as a praise-worthy concept under the Confucian world for a long time because “qi” is, by the definition, anything out of the path of righteousness. In China, “qi” came to be regarded as something outstanding,interesting and therefore seductive in the late Ming Dynasty. Chinese in the late 17th century enjoyed various collections worthy of “qi.” Especially for travel, they tried to collect the marvelous sceneries and published many books to introduce the sceneries. In many cases, the introduced images are curiously strange, enough to be called as “qi.”The valuation of “qi” in the late Choson was similar to that of the late Ming, especially in the travel culture. After travel to famous mountains,they recorded the journey with exaggeration of the “qi” of the sceneries. Chong Son painted the sceneries, then the travellers called the painting as “qi” and “true[zhen眞]”. For example, Munam, or rock of door, was one of the most famous seneries for “qi” in the 18th century. The Kim brothers described the rock as really door-like shape, then Chong Son painted the rock, showing the only door-like rock standing in the beach. The real rock is not so standing separately and not so similar to a door. Their exaggeration of “qi” changes dramatically the real image, making the image of “qi.” Another good example is Waterfall of Bak-yoen located in the North Korea. The Kim brothers focuses on the length of the water and black color in the pond. Chong Son painted the waterfall extremely long with an unusually long frame and put a big black rock in the very middle of the pond. In fack,the waterfall is not so long and there is not the rock in the pond. One intriguing problem is left after this paper; the image of “qi” was praised as “trur or zhen”. This kind of discourse about “qi” and “zhen”would be related to the aesthetic theory in the 19th century in Choson.