손극홍의 청완도: 명 말기 취미와 물질의 세계

Abstract

This study aims to examine the way in which Sun Kehong’s works Wenchuangqinggongtu(文窓淸供圖) and Yunchuangqingwantu(蕓窓淸玩圖) are visual embodiments of the culture of appreciating decorative study objects and the discourse of material culture of the late Ming dynasty. Various studies of late-Ming pastime of collecting expensive luxury items have previously been conducted, but my aim here is to establish, through the case of Sun Kehong, that the culture of appreciation of objects and consumption among literati at this time was actively reflected in paintings, and that Wenchuangqinggongtu and Yunchuangqingwantu are paintings according to the flower-zahua(雜畫) scrolls that existed in the late Ming period. The terms ‘qingwan(清玩)’ and ‘qinggong(清供),’ meaning pure and elegant objects placed in a study or the appreciation of such objects, were widely used in the late Ming period in conjunction with the culture of object appreciation. The flowers and plants, fruit and vegetables, fish and crabs, decorative stones, curios and writing implements depicted in these works were objects of such appreciation in the late Ming period. As such, they are more than mere natural or auspicious objects: they are infused with significance reflective of the contemporary culture of object appreciation. In terms of the choice and layout of their motifs, their composition and their forms, these two works follow those of late-Ming flower-zahua scrolls rather than of New Year’s Day paintings(歲朝圖) and antiquity paintings(博古圖) in the style of gimyeongjeoljihua(器皿折枝畵) or antiquity paintings in the elegant gathering style. In terms of expression, the works are characterized by their simple depiction of forms, neat brush lines and novel use of colours. Sun Kehong was a member of his local elite, with access to the higher levels of literatus culture thanks to his family background and the Songjiang network. The late Ming period was one when mania for trifling and elegant objects was recognised as a fundamental value among literati. Trends in consumption and the popularization of literati tastes led to the publication of books that further stimulated the material culture of consumption. By considering the specific cultural phenomena inherent in each image, this study examines the way Sun’s two works constitute visual embodiments of the tastes and material world of late-Ming literati. As paintings that reflect the trend of collecting luxury items and the material culture the late Ming period, Wenchuangqinggongtu and Yunchuangqingwantu demonstrate the appearance of ‘qinggongtu(淸供圖)’ infused with the significance of object appreciation. After becoming established as an universal subject of paintings in the Qing period, qinggongtu developed into gimyeongjeoljihwa and flower-zahua scroll forms, with stronger auspicious significance. Sun Kehong’s works constituted a trend that developed into the latter form.