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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Chen Hong-shou (陳洪綬, 1598-1652) was a late-Ming literati painter who made a significant contribution in establishing and reviving antiquarianism in figure paintings in the history of Chinese painting. Chen was an artist with diverse talents. He was a painter, a calligrapher of high-caliber, a famous illustrator for popular novels and romance, and a poet. Archaic and antiquarian thematic and pictorial styles formed the distinctive quality of Chen’s works.
Existing researches on Chen Hong-shou have not yet investigated several important issues, such as how his paintings were inter-related with his state of psychology or to his varied and complex life experiences as a Ming leftover loyalist. I believe that Chen was fundamentally an anguished drifter unsettling in between neither Ming nor Qing dynasty.
Ho T’ien-chang in The Pleasure Outing of Ho T’ien-chang can be regarded as a symbol of the collective identity of leftover Ming intellectuals, who decided to become hermit scholars like Tao Yuan-ming. In this imaginary group portrait, Chen Hong-shou depicted the thwarted and conflict-ridden lives of left-over loyalties of Ming dynasty, including the painter himself. Chen represented the main subject of life and culture of his contemporary leftover intellectuals such as Ho T’ien-chang by portraying him as Tao Yuan-ming, a legendary hermit scholar whom Ming loyalists wished to associate themselves with.
In The Pleasure Outing of Ho T’ien-chang appears Ho T’ien-chang, who lived in retirement out of suffering and conflict from the fall of his country. He sits tranquil in a quite surrounding, which represents the life of Ho T’ien-chang as a hermit scholar who received high-esteem from Ming loyalists. Large pine trees, bamboos, and Taihu rocks in the background symbolize the pure image of Ho T’ien-chang. The large pine trees extending their branches wide, the bamboos standing behind the pines and the Taihu rocks lying in the foreground all refer to the way of life of a nobleman who does not give up their spiritual nobleness even in perilous conditions. These objects are no mere sceneries. They were traditionally metaphors of unbent will and integrity of the noble men situated in the time of hardships, and they visually amplify Ho T’ien-chang who led his life with a clean and pure spirit despite the desolate reality. However, The Pleasure Outing of Ho T’ien-chang takes note of the tragic reality where such a literati intellectual with exceptional talent and nobleness like Ho T’ien-chang should end his life as a drifter and a hermit scholar. An almost inconspicuous chrysanthemum on the corner of the rock to the right side of Ho T’ien-chang in the painting implies the unfortunate lives of drifters as a visual metaphor. Among the drifting intellectuals, chrysanthemums have thus been regarded as a symbol of hardship and frustration of Ming leftover loyalists. By depicting the portrait of Ho T’ien-chang, Chen Hong-shou attached strong social significance and a high level of pictorial symbolism in The Pleasure Outing of Ho T’ienchang. From the outer appearance, the painting seems to have rendered the “pleasure outing”of Ho T’ien-chang, but it is a symbolical painting of Chen Hong-shou who represents the common “consciousness of Ming leftover”among Ming loyalists and the artist himself.
Existing researches on Chen Hong-shou have not yet investigated several important issues, such as how his paintings were inter-related with his state of psychology or to his varied and complex life experiences as a Ming leftover loyalist. I believe that Chen was fundamentally an anguished drifter unsettling in between neither Ming nor Qing dynasty.
Ho T’ien-chang in The Pleasure Outing of Ho T’ien-chang can be regarded as a symbol of the collective identity of leftover Ming intellectuals, who decided to become hermit scholars like Tao Yuan-ming. In this imaginary group portrait, Chen Hong-shou depicted the thwarted and conflict-ridden lives of left-over loyalties of Ming dynasty, including the painter himself. Chen represented the main subject of life and culture of his contemporary leftover intellectuals such as Ho T’ien-chang by portraying him as Tao Yuan-ming, a legendary hermit scholar whom Ming loyalists wished to associate themselves with.
In The Pleasure Outing of Ho T’ien-chang appears Ho T’ien-chang, who lived in retirement out of suffering and conflict from the fall of his country. He sits tranquil in a quite surrounding, which represents the life of Ho T’ien-chang as a hermit scholar who received high-esteem from Ming loyalists. Large pine trees, bamboos, and Taihu rocks in the background symbolize the pure image of Ho T’ien-chang. The large pine trees extending their branches wide, the bamboos standing behind the pines and the Taihu rocks lying in the foreground all refer to the way of life of a nobleman who does not give up their spiritual nobleness even in perilous conditions. These objects are no mere sceneries. They were traditionally metaphors of unbent will and integrity of the noble men situated in the time of hardships, and they visually amplify Ho T’ien-chang who led his life with a clean and pure spirit despite the desolate reality. However, The Pleasure Outing of Ho T’ien-chang takes note of the tragic reality where such a literati intellectual with exceptional talent and nobleness like Ho T’ien-chang should end his life as a drifter and a hermit scholar. An almost inconspicuous chrysanthemum on the corner of the rock to the right side of Ho T’ien-chang in the painting implies the unfortunate lives of drifters as a visual metaphor. Among the drifting intellectuals, chrysanthemums have thus been regarded as a symbol of hardship and frustration of Ming leftover loyalists. By depicting the portrait of Ho T’ien-chang, Chen Hong-shou attached strong social significance and a high level of pictorial symbolism in The Pleasure Outing of Ho T’ienchang. From the outer appearance, the painting seems to have rendered the “pleasure outing”of Ho T’ien-chang, but it is a symbolical painting of Chen Hong-shou who represents the common “consciousness of Ming leftover”among Ming loyalists and the artist himself.
목차
Ⅰ. 머리말
Ⅱ. ‘何天章’의 人物 규명
Ⅲ. 遺民의 아이콘: 陶淵明과 菊花 그리고 美人
Ⅳ. 陳洪綬와 明朝 遺民의 집단 정체성
Ⅴ. 맺음말
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