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This essay aims to illustrate the life of Yun Deok-hui (尹德熙, 1685-1766) based on Subal-jip (?勃集), his newly discovered essay in 2001 as well as Haeng-jang (行狀), a part of the sixth volume of Dongak-munheon (棠岳文獻), and to discuss his artistic achievement that had been unfortunately shadowed by his father's artistic fame.
As the son of a famous literati painter Yun Du-seo (尹斗緖, 1668-1715). Yun Deok-hui was an active painter throughout the early and mid eighteenth-century, late Chosen dynasty. His zi (字) was Kyeong-baek (敬伯) and his literary name is Yeon-ong and Nak-seo (蓮翁, 駱西). Yun Deok-hui was a prolific painter who created more than 110 works of painting until he died at the age of 82. His artistic boundary spans to southern school painting, real scenary painting, horse and taoist figure paintings. In addition, he experimented with western pictorial expressions like chiaroscuro. Although Yun Deok-hui was not as famous as his father, it is worth to note that he played a crucial role to establish his family's artistic style by transmitting his father's artistic accomplishment to his son Yun Yong(尹?, 1708-1740).
Yun Deok-hui spent his early period (1685-1713) in Hanyang (漢陽), the capital of the Chosen dynasty, receiving lessons of calligraphy and classics from Yi seo (李淑, 1662-1723). Around the age of 24 (1708), he was finally introduced to artistic world by his father.
In the mature period (1713-1731), Yun Deok-hui returned to his home land Heanam (海南), and had an opportunity to have a thorough study on his family's collection. When he came back to the capital in his late age (1731-1752), he became actively involved into Hanyang art scene. At the age of 64 (1748). Yun Deok-hui was called to take part in copying of the King Sukjong (肅宗)'s portrait as a scholar director (監董).
Yun Deok-hui's intellectual interest was not only limited to Confucianism, but also to Buddhism, Taoism, Chinese novels, music, and even to medicine. His broad intellectual boundary is evident in the fact that he read at the age of 59 (1743) Tian-gong-kai-wu 『天工開物』 written by a late Ming scholar Song Eun-seong (宋應星, 1587-1648) and he had read 127 Chinese novels between the age of 77 and 78.
Such various intellectual interests might have been inspired through his mother's family, which had been leading the eighteenth-century politics and scholarship in the Choson dynasty. Yi Su-kwang (李?光, 1563-1628), a famous philosopher of "Practical Learning (實學)", was indeed the great-grandfather of Yun Deok-hui's mother. There is little doubt that Yun Deok-hui had an intimate intellectual relationship with scholars of the Keunki School (近畿學派) composed by members of Namin (南人) such as Yi Man-bu (李萬敷, 1664-1732), Yi Jam (李潛, 1660-1706), Yi Seo (李?, 1662-1723) and Yi Ik (李瀷, 1681-1763). However, Yun Deok-hui also associated with members of the Noron School (老論系) such as Yi Byeong-yeon (李秉淵, 1671-1751) and Jeong Seon (鄭敾, 1676-1759), who shared a different political and philosophical ideology from that of the Keunki School. Such unfettered intellectual boundary nurtured Yun Deok-hui's artistic world and make it rich.
Yun Deok-hui's artistic foundation mainly consists of three elements: Yun Du-seo's style, his own artistic vision, and Chinese painting manuals. His view of painting was classified into three esthetics: of drawing "Jin Kyeong" (眞景, real scenary). of spontaneous expression of his mind and feeling (寫意) and of taking a painter for a matter of secondary importance as a scholar (末藝觀). It is worth to note that Yun Deok-hui used the term, "Jin Kyeong" (眞景) in 1709. He believed that paintings should depict faithfully real world rather than philosophical fantasy. We might assume from fact Yun Deok-hui used this term earlier than Kang Se-hwang (姜世晃, 1713-1791), from Choson-Sinocentrism (朝鮮中華主義) supported by that the emergence of real scenary paintings was not originated among members of the Noron School, but rather a commonly shared concept among eighteenth-century literati painters.
Another important factor is that consists of Yun Deok-hui's art is Chinese painting manuals such as Painting Manual by Mr. Gu ITiirnJX:JimJJ, Figure painting Manual of sages 『照史』, Painting Manual of Tang Poetry 『唐詩畵譜』, The Mustard Seed Garden Manual of Painting 『芥子園畵傳』, San-ts'ai t'u-hui 『三才圖會』, Illustrations of the Life of Confucius 『孔夫子聖蹟圖』, 「小說經覽者」 of 127 volumes of Novel list that Yun Deok-hui read. Those Chinese painting manuals was one the three axes that consist Yun Deok-hui's artistic world. He experimented with western chiaroscuro effect for illustrating taoist figures that he had seen from San-ts'ai t'u-hui 『三才圖會』. I believe Yun Deok-hui set taoist figure paintings on a new course of growth and development in the eighteenth-century Choson art scene. However, his artistic attitude of depending on Chinese painting manuals made him not to excel in his father's artistic legacy in genre painting. His horse paintings also echo his father's manner that had been deeply indebted to a Northern Song painter. Li Gong-lin (李公麟, 1041-1106) as well as a Yuan painter, Zhao Meng-fu (趙孟?, 1254-1322).
As this essay discusses above, Yun Deok-hui was the first painter to use the term "Jin Kyeong", although he did not practice it much in his landscape and genre paintings. It is worth to note that he was an important figure to set taoist figure paintings on a new growth and development, but also to be a pioneer to adopt western chiaroscuro effect for landscape painting, figure painting, and horse painting. Seen in this light, Yun Deok-hui is an important figure in the late Choson art scene.
As the son of a famous literati painter Yun Du-seo (尹斗緖, 1668-1715). Yun Deok-hui was an active painter throughout the early and mid eighteenth-century, late Chosen dynasty. His zi (字) was Kyeong-baek (敬伯) and his literary name is Yeon-ong and Nak-seo (蓮翁, 駱西). Yun Deok-hui was a prolific painter who created more than 110 works of painting until he died at the age of 82. His artistic boundary spans to southern school painting, real scenary painting, horse and taoist figure paintings. In addition, he experimented with western pictorial expressions like chiaroscuro. Although Yun Deok-hui was not as famous as his father, it is worth to note that he played a crucial role to establish his family's artistic style by transmitting his father's artistic accomplishment to his son Yun Yong(尹?, 1708-1740).
Yun Deok-hui spent his early period (1685-1713) in Hanyang (漢陽), the capital of the Chosen dynasty, receiving lessons of calligraphy and classics from Yi seo (李淑, 1662-1723). Around the age of 24 (1708), he was finally introduced to artistic world by his father.
In the mature period (1713-1731), Yun Deok-hui returned to his home land Heanam (海南), and had an opportunity to have a thorough study on his family's collection. When he came back to the capital in his late age (1731-1752), he became actively involved into Hanyang art scene. At the age of 64 (1748). Yun Deok-hui was called to take part in copying of the King Sukjong (肅宗)'s portrait as a scholar director (監董).
Yun Deok-hui's intellectual interest was not only limited to Confucianism, but also to Buddhism, Taoism, Chinese novels, music, and even to medicine. His broad intellectual boundary is evident in the fact that he read at the age of 59 (1743) Tian-gong-kai-wu 『天工開物』 written by a late Ming scholar Song Eun-seong (宋應星, 1587-1648) and he had read 127 Chinese novels between the age of 77 and 78.
Such various intellectual interests might have been inspired through his mother's family, which had been leading the eighteenth-century politics and scholarship in the Choson dynasty. Yi Su-kwang (李?光, 1563-1628), a famous philosopher of "Practical Learning (實學)", was indeed the great-grandfather of Yun Deok-hui's mother. There is little doubt that Yun Deok-hui had an intimate intellectual relationship with scholars of the Keunki School (近畿學派) composed by members of Namin (南人) such as Yi Man-bu (李萬敷, 1664-1732), Yi Jam (李潛, 1660-1706), Yi Seo (李?, 1662-1723) and Yi Ik (李瀷, 1681-1763). However, Yun Deok-hui also associated with members of the Noron School (老論系) such as Yi Byeong-yeon (李秉淵, 1671-1751) and Jeong Seon (鄭敾, 1676-1759), who shared a different political and philosophical ideology from that of the Keunki School. Such unfettered intellectual boundary nurtured Yun Deok-hui's artistic world and make it rich.
Yun Deok-hui's artistic foundation mainly consists of three elements: Yun Du-seo's style, his own artistic vision, and Chinese painting manuals. His view of painting was classified into three esthetics: of drawing "Jin Kyeong" (眞景, real scenary). of spontaneous expression of his mind and feeling (寫意) and of taking a painter for a matter of secondary importance as a scholar (末藝觀). It is worth to note that Yun Deok-hui used the term, "Jin Kyeong" (眞景) in 1709. He believed that paintings should depict faithfully real world rather than philosophical fantasy. We might assume from fact Yun Deok-hui used this term earlier than Kang Se-hwang (姜世晃, 1713-1791), from Choson-Sinocentrism (朝鮮中華主義) supported by that the emergence of real scenary paintings was not originated among members of the Noron School, but rather a commonly shared concept among eighteenth-century literati painters.
Another important factor is that consists of Yun Deok-hui's art is Chinese painting manuals such as Painting Manual by Mr. Gu ITiirnJX:JimJJ, Figure painting Manual of sages 『照史』, Painting Manual of Tang Poetry 『唐詩畵譜』, The Mustard Seed Garden Manual of Painting 『芥子園畵傳』, San-ts'ai t'u-hui 『三才圖會』, Illustrations of the Life of Confucius 『孔夫子聖蹟圖』, 「小說經覽者」 of 127 volumes of Novel list that Yun Deok-hui read. Those Chinese painting manuals was one the three axes that consist Yun Deok-hui's artistic world. He experimented with western chiaroscuro effect for illustrating taoist figures that he had seen from San-ts'ai t'u-hui 『三才圖會』. I believe Yun Deok-hui set taoist figure paintings on a new course of growth and development in the eighteenth-century Choson art scene. However, his artistic attitude of depending on Chinese painting manuals made him not to excel in his father's artistic legacy in genre painting. His horse paintings also echo his father's manner that had been deeply indebted to a Northern Song painter. Li Gong-lin (李公麟, 1041-1106) as well as a Yuan painter, Zhao Meng-fu (趙孟?, 1254-1322).
As this essay discusses above, Yun Deok-hui was the first painter to use the term "Jin Kyeong", although he did not practice it much in his landscape and genre paintings. It is worth to note that he was an important figure to set taoist figure paintings on a new growth and development, but also to be a pioneer to adopt western chiaroscuro effect for landscape painting, figure painting, and horse painting. Seen in this light, Yun Deok-hui is an important figure in the late Choson art scene.
목차
Ⅰ. 머리말
Ⅱ. 『?勃集』과 尹德熙의 生涯
Ⅲ. 尹德熙 繪畵形成의 基盤
Ⅳ. 尹德熙의 山水畵
Ⅴ. 尹德熙의 人物畵
Ⅵ. 尹德熙의 말 그림
Ⅶ. 맺음말
ABSTRACT
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