14세기 중국 文人畵의 새로운 특성과 경향 연구 - 군소 화가들을 중심으로 -
The New Trend of Chinese Literati Painting in the 14th century
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This thesis focuses on revaluating some Minor painters’ attainments. Major painters-Huang kung-wang 黃公望, Wu Chen 吳鎭, Ni Tsan 倪瓚-have been highly evaluated in recent years. On the other hand, Minor painters-Ch’en Ju-yen 陳汝言, Chao Yuan 趙原, Fang Ts’ung-i 方從義, Hsü Pen 徐賁, Lu Kuang 陸廣, Ma Wan 馬琬-have been lowly evaluated. But, I think they are significant in Art history, so I take on this study. In the fourteenth century, the political, social, and economic problems of Yüan dynasty became worse. Local rebellions already sprung up in various parts of China. Among the leaders of these rebellions, Chang Shih-ch’eng 張士誠 and Chu Yuan-chang 朱元璋 were the most powerful. Chang shih-ch’eng was highly concerned about literature and art and sponsored scholar-painters. Therefore Soochow became the cultural center. Under this political situation Minor painters evolved the styles of landscape painting. Above all things, expressional quality is remarkable in many paintings. The strong, unique strokes of Minor painters have symbolic meaning. Expecially, Fang Ts’ung-i 方從義’s unrestricted brush and Wang Meng 王蒙’s dynamic stroke hadn’t been seen before. The inequality, tension, and dynamics described through these strokes coincided with political situation. And these painters attempted new experimental styles in pictorial space. They show what stylistic changes occured in the 1360s and 1370s-during the transition from the Yüan to the Ming dynasty-within a selected group of paintings. Mountain shapes which are pulled closer to the viewer remind those of the North Sung, and yet they transform traditional styles into a new and unique style. These painters were interested in special themes. The legendary and narrative themes in late Yüan and early Ming dynasties are particular. They expressed symbolic meaning through the story of Ko Hung 葛洪, Lu Yü 陸羽, Hsu shih 西施. They had their image paralleled with this figures. On the other the hand, the subjects of specific locales and eremitic place are other special qualities. The Minor painters in late Yüan and early Ming dynasties built an individual sphere of painting under a specific political situation. Based on strong expression, new space, and a narrative theme, they set their new artistic trend. (Hongik University / muppet@freechal.com)
Abstract
This thesis focuses on revaluating some Minor painters’ attainments. Major painters-Huang kung-wang 黃公望, Wu Chen 吳鎭, Ni Tsan 倪瓚-have been highly evaluated in recent years. On the other hand, Minor painters-Ch’en Ju-yen 陳汝言, Chao Yuan 趙原, Fang Ts’ung-i 方從義, Hsü Pen 徐賁, Lu Kuang 陸廣, Ma Wan 馬琬-have been lowly evaluated. But, I think they are significant in Art history, so I take on this study. In the fourteenth century, the political, social, and economic problems of Yüan dynasty became worse. Local rebellions already sprung up in various parts of China. Among the leaders of these rebellions, Chang Shih-ch’eng 張士誠 and Chu Yuan-chang 朱元璋 were the most powerful. Chang shih-ch’eng was highly concerned about literature and art and sponsored scholar-painters. Therefore Soochow became the cultural center. Under this political situation Minor painters evolved the styles of landscape painting. Above all things, expressional quality is remarkable in many paintings. The strong, unique strokes of Minor painters have symbolic meaning. Expecially, Fang Ts’ung-i 方從義’s unrestricted brush and Wang Meng 王蒙’s dynamic stroke hadn’t been seen before. The inequality, tension, and dynamics described through these strokes coincided with political situation. And these painters attempted new experimental styles in pictorial space. They show what stylistic changes occured in the 1360s and 1370s-during the transition from the Yüan to the Ming dynasty-within a selected group of paintings. Mountain shapes which are pulled closer to the viewer remind those of the North Sung, and yet they transform traditional styles into a new and unique style. These painters were interested in special themes. The legendary and narrative themes in late Yüan and early Ming dynasties are particular. They expressed symbolic meaning through the story of Ko Hung 葛洪, Lu Yü 陸羽, Hsu shih 西施. They had their image paralleled with this figures. On the other the hand, the subjects of specific locales and eremitic place are other special qualities. The Minor painters in late Yüan and early Ming dynasties built an individual sphere of painting under a specific political situation. Based on strong expression, new space, and a narrative theme, they set their new artistic trend. (Hongik University / muppet@freechal.com)
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