연못이 있는 정원 ― 조선후기 園池ㆍ`園林畫의 유형과 그 함의 ―

Abstract

Gardens and ponds, which belonged to the personal dwellings of literary bureaucrats, are assumed to be created in earnest from the Chinese Sung Dynasty, when many country houses with gardens started to move to castle towns. After the Ming Dynasty, landscape gardening developed dramatically and books about building residential areas were published. Immediately adopted by Koreans, they triggered the creation of solitary residences for the literary gentry. Garden paintings featuring garden ponds demonstrated the aspirations of the literary gentry who wished to live in Seoul, a centerpiece of culture and economy, and expressed their desire for creating natural gardens in the center of city. By reflecting such desire into their paintings, paintings that emphasized the inside of residence were more produced than those highlighting surroundings from the 17thcentury. As the gardens’ surroundings were specified, the garden paintings became concrete as well. The garden pond, which was the symbol of solitary residence, showed literary gentry’s desire to transfer natural gardens to the city and their luxurious leisure activities. An ‘imaginary garden’ with a pond was a harmonious space where pre-existing paradise was realized. The garden pond, which became the main place to hold literary meetings and amuse one’s self, acted as proof of a ‘management of garden’ centered around Seoul from the late Joseon Dynasty and showed the aspirations of writers who tried to bestow favors on others and reproduce old paintings through social gatherings with close friends. Through gardens and garden ponds, the residential culture of the late Joseon Dynasty’s literary gentry and their strong desire for gardening can be understood.