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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.6
- 수록면
- 25 - 56 (36page)
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Chang S?ng-?p(張承業 1843-1897), style name Ow?n(吾園), is traditionally considered as one of the last great painters of the Chos?n Dynasty. He is revered as one of the "three w?ns"(三園) along with Tanw?n Kim Hong-do(檀園 金弘道 1745-after 1806) and Hyew?n Sin Yun-bok(蕙園 申潤福 active mid 18th cen.-early 19th cen.). Despite such a reputation, not much has been known about his life, or his training as painter.
According to a contemporary writer, Chang Chi-y?n(張志淵 1864-1921), Chang S?ng-?p was given room and board at an official and collector Yi ?ng-h?n's home in the capital, where the painter had access to Yi's Chinese painting collection. One day suddenly, according to this account, Chang began to wield his brush and spontaneously painted works of various subject matters all of which were of divine class. From the above, we can surmise that the Chinese paintings he was able to see at Yi's home were the most important factor in Chang S?ng-?p's training and subsequent achievement as painter. This essay explores the relationship between Chang's paintings and Chinese paintings of the masters whose works Chang purportedly imitated.
Chapter Ⅱ gives a historical and cultural overview of the 19th century in which Chang S?ng-?p worked. It also reviews his paintings purportedly done in imitation(lin 臨, fang ?, 倣, i 擬), or in the brush spirit(pii 筆意) of Chinese masters. Historically, the 19th century was marked by the decline of the royal authority, and by threats from the foreign powers. Culturally, the period was characterized by the decline of the national characteristics in art which reached its height in the previous century in the form of true-view landscape and genre paintings. At the same time, cultural influence from Ch'ing China increased through activities of Chos?n emissaries to the Ch'ing court who introduced to Korea new trends of Chinese calligraphy based on the study of epigraphy and a renewed interest in literati painting. Also it was during this period that several Chinese painting manuals newly published in the Shanghai area were introduced to Korea. In this cultural milieu, Chang seemed to have taken it for granted to do paintings after several Chinese masters.
Chart 1 is a list of Chang S?ng-?p's works done after various Chinese masters ranging in date from the Tang to the Ch'ing periods as indicated in inscriptions on his paintings. In some cases, specific names of Chinese painters were mentioned while in others, only the names of the dynasty were indicated. The masters Chang imitated include such famous painters as Huang Ch'uan(黃筌) and Huang Chu-ts'ai(黃居寀) of the Five Dynasties period, Mi Fu(米?) of Northern Sung, Chao Meng-fu(趙孟?), Huang Kung-wang(黃公望), Wang Meng(王蒙) and Fang Tsung-i(方從義) of the Yuan dynasty, Lin Liang(林良) and Ch'en Shun(陳淳) of the Ming dynasty, and Shang-kuan Chou(上官周), Hua Yen(華?) and Chu Hsueh-nien(朱鶴年) of the Ch'ing dynasty. Among these, Chu Hsueh-nien was much favoured by Korean scholar painters in the circle of Ch'usa Kim Ch?ng-h?i(秋史 金正喜). These names indicate that Chang S?ng-?p painted in a broad range of styles, which included academic styles of court painters as well as literati painters.
Chapter Ⅲ examines Chang's paintings in relation to specific Chinese painters he is said to have followed. In some cases, especially in his figure paintings, Chang S?ng-?p directly quoted several figure types from Chinese painting manuals and combined them in his own compositions. In his early landscapes(pl. 1 & 2), we see him borrowing several tree types from the Mustard Seed Garden Manual of Painting(Chieh-tzu yuan hua-ch'un 芥子園畵傳) and putting them together to create a continuous composition. In some other paintings of his, it is interesting to see him mentioning names of masters on certain of his paintings who were not known for paintings of that particular subject matter. Such examples include his paintings of still life known in Korean as kiy?ng ch?lchi do(器皿折枝圖), in which vessels of Chinese antiquarian tastes and cut-branch flowers are combined. Fish and crab paintings(魚蟹圖) are other examples. For the former, Chang puts Huang Kung-wang and for the latter, Chu Hsueh-nien neither of whom were known to have painted those subject matters. However, it is in paintings on which he did not mention any earlier masters as his model that we find the most powerful and self-confident brushworks, dynamic compositions, and spontaneous and yet detailed depictions of plants and birds. The examples are the pair of hanging scroll in the Ho-am Art Museum one of which is called Magnificent Eagles(豪圖鷲)(pl. 16), and the Rooster and Hen in a Bamboo Garden(竹園養鷄) (pl. 17) in the Kansong Art Museum. Therefore, it seems that Chang S?ng-?p at first went through stages of learning many different styles of Chinese masters without really understanding the distinctive characteristics of each master's style he was imitating. By doing so, he was able to learn the brush manners of all major Chinese masters, and later reached the stage of synthesizing them, and making them his own. Herein lies Chang's great ability as painter.
Tanw?n Kim Hong-do and Hyew?n Sin Yun-bok each represented the era they belonged by excelling in expressions of Korean ethos in their paintings. By contrast, Ow?n Chang S?ng-?p. with his powerful and masterful brushworks, represented the changed taste and reflected the international situation of the end of the Chos?n period. In this sense, the traditional labeling of the three painters as the "three w?ns" of the Chos?n dynasty has much validity in it.
According to a contemporary writer, Chang Chi-y?n(張志淵 1864-1921), Chang S?ng-?p was given room and board at an official and collector Yi ?ng-h?n's home in the capital, where the painter had access to Yi's Chinese painting collection. One day suddenly, according to this account, Chang began to wield his brush and spontaneously painted works of various subject matters all of which were of divine class. From the above, we can surmise that the Chinese paintings he was able to see at Yi's home were the most important factor in Chang S?ng-?p's training and subsequent achievement as painter. This essay explores the relationship between Chang's paintings and Chinese paintings of the masters whose works Chang purportedly imitated.
Chapter Ⅱ gives a historical and cultural overview of the 19th century in which Chang S?ng-?p worked. It also reviews his paintings purportedly done in imitation(lin 臨, fang ?, 倣, i 擬), or in the brush spirit(pii 筆意) of Chinese masters. Historically, the 19th century was marked by the decline of the royal authority, and by threats from the foreign powers. Culturally, the period was characterized by the decline of the national characteristics in art which reached its height in the previous century in the form of true-view landscape and genre paintings. At the same time, cultural influence from Ch'ing China increased through activities of Chos?n emissaries to the Ch'ing court who introduced to Korea new trends of Chinese calligraphy based on the study of epigraphy and a renewed interest in literati painting. Also it was during this period that several Chinese painting manuals newly published in the Shanghai area were introduced to Korea. In this cultural milieu, Chang seemed to have taken it for granted to do paintings after several Chinese masters.
Chart 1 is a list of Chang S?ng-?p's works done after various Chinese masters ranging in date from the Tang to the Ch'ing periods as indicated in inscriptions on his paintings. In some cases, specific names of Chinese painters were mentioned while in others, only the names of the dynasty were indicated. The masters Chang imitated include such famous painters as Huang Ch'uan(黃筌) and Huang Chu-ts'ai(黃居寀) of the Five Dynasties period, Mi Fu(米?) of Northern Sung, Chao Meng-fu(趙孟?), Huang Kung-wang(黃公望), Wang Meng(王蒙) and Fang Tsung-i(方從義) of the Yuan dynasty, Lin Liang(林良) and Ch'en Shun(陳淳) of the Ming dynasty, and Shang-kuan Chou(上官周), Hua Yen(華?) and Chu Hsueh-nien(朱鶴年) of the Ch'ing dynasty. Among these, Chu Hsueh-nien was much favoured by Korean scholar painters in the circle of Ch'usa Kim Ch?ng-h?i(秋史 金正喜). These names indicate that Chang S?ng-?p painted in a broad range of styles, which included academic styles of court painters as well as literati painters.
Chapter Ⅲ examines Chang's paintings in relation to specific Chinese painters he is said to have followed. In some cases, especially in his figure paintings, Chang S?ng-?p directly quoted several figure types from Chinese painting manuals and combined them in his own compositions. In his early landscapes(pl. 1 & 2), we see him borrowing several tree types from the Mustard Seed Garden Manual of Painting(Chieh-tzu yuan hua-ch'un 芥子園畵傳) and putting them together to create a continuous composition. In some other paintings of his, it is interesting to see him mentioning names of masters on certain of his paintings who were not known for paintings of that particular subject matter. Such examples include his paintings of still life known in Korean as kiy?ng ch?lchi do(器皿折枝圖), in which vessels of Chinese antiquarian tastes and cut-branch flowers are combined. Fish and crab paintings(魚蟹圖) are other examples. For the former, Chang puts Huang Kung-wang and for the latter, Chu Hsueh-nien neither of whom were known to have painted those subject matters. However, it is in paintings on which he did not mention any earlier masters as his model that we find the most powerful and self-confident brushworks, dynamic compositions, and spontaneous and yet detailed depictions of plants and birds. The examples are the pair of hanging scroll in the Ho-am Art Museum one of which is called Magnificent Eagles(豪圖鷲)(pl. 16), and the Rooster and Hen in a Bamboo Garden(竹園養鷄) (pl. 17) in the Kansong Art Museum. Therefore, it seems that Chang S?ng-?p at first went through stages of learning many different styles of Chinese masters without really understanding the distinctive characteristics of each master's style he was imitating. By doing so, he was able to learn the brush manners of all major Chinese masters, and later reached the stage of synthesizing them, and making them his own. Herein lies Chang's great ability as painter.
Tanw?n Kim Hong-do and Hyew?n Sin Yun-bok each represented the era they belonged by excelling in expressions of Korean ethos in their paintings. By contrast, Ow?n Chang S?ng-?p. with his powerful and masterful brushworks, represented the changed taste and reflected the international situation of the end of the Chos?n period. In this sense, the traditional labeling of the three painters as the "three w?ns" of the Chos?n dynasty has much validity in it.
목차
Ⅰ. 머리말
Ⅱ. 19세기 후반기 朝鮮畵壇의 中國的 경향과 張承業의 中國繪畵 倣作
Ⅲ. 張承業 회화에 보이는 중국적 要素
Ⅳ. 맺음말
부록: 南公轍(1760-1840)의 『金陵集』에 수록된 中國繪畵 目錄
English Abstract
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