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초록· 키워드
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It is generally said that the history of painting after the late Joseon Dynasty was on the wane as Chinese literati painting of the Southern School (南宗畵) came into vogue. Chinese literati painting of the Southern School had been formalized by a group of painters centered around Kim Jeonghee(金正喜). But there was a new trend coming up which contradicts the generally accepted idea as witnessed in paintings of Chang Seungup(張承業) and his disciples, An Choongsik(安中植) and Cho Seokjin (趙錫晋). A number of studies about their works say that their paintings were influenced by Chinese paintings or followed the Chinese painting manuals(畵譜). But it also can be understood they allowed a new Chinese style in their paintings. Thus I focus, in this paper, on the nature of the new Chinese painting style that appeared in Chang Seungup’ s paintings in the late Joseon Dynasty and the form it had taken since its introduction.
In Shanghai which grew as a modem industrial city, a variety of painting manuals had been published since the 1880s tight after the introduction of lithographic publishing in 1876. Mainly printed in these painting manuals were paintings of flowers and birds or figures by painters who had populist inclination such as Ren Xiong(任熊), Ren Xin(任薰) and Ren Yi(任?), Zhang Xiong(張熊), Yang Boren (楊伯澗), Ju Chen(朱?), Fei Danxu(費丹旭), and Chen Huian(錢慧安) etc.. On the other hand. landscape paintings hardly got places in these books since they were painted by only a handful of literati painters such as Cheng Tingru(程庭鷺). Qin Binwen(秦炳文). Qin Zuyong(秦祖永) Gu Yun(顧澐). Wu Guxlang(烏毅祥). Wu Qingyun(吳慶雲), and Chen Yunsheng(陳允升) at the absence of the interest from the public. TI1is shows that the universal style of Shanghai School was reflected in these painting manuals. But as landscape painting was still the most important genre in the transitional period from the late Joseon Dynasty toward the early modem times. I limit. in this paper. the subject of comparison to Renzhai Huasheng(?齊畵?. 1876-1878). Huapo Caixin(畵譜采新, 1885). Zengguang Minggjia Huapu(增廣名家畵譜) in Jiezi Yuan Huazhuan(芥子園畵傅, 1888), and Gujin Mingren Huagao(古今名人畵稿, 1888-1890). which include a relatively large number of landscape paintings.
As a result of the comparison between landscape paintings of Chang Seungup, An Choongsik, Cho Seokjin and Byeon Kwansik(下寬植) and those printed in four painting manuals mentioned above, I can find specific examples. The cases in point are Chang Seungup' Landscape(fig. 13) and Yun Shouping' Landscape from Gujin Mingren Huagao(fig. 14), An Choongsik' Gathering on the Tapwon(fig. 22) and Chen Yunsheng' Landscape from Renzbai Huasheng(fig. 23). Cho Seokjin' Spring Landscape(fig. 27) and Zhang Xiong' Landscape from Huapo Caixintfig 28), Cho Seokjin' Winter Landscapeiiig, 29) and Wu Qingyun' Landscape from Zengguang Minggjia Huapu in fiezi Yuan Huazhuan(fig. 30). Cho Seokjin' Cloudy and Rainy Mountains(fig. 31) and Chao Xun(巢勳)' Landscape from Zengguang Minggjia Huapu in Jiezi Yuan Huazhuan(fig, 32). Cho Seokjin' Autumn Landscape(fig. 33) and Landcape from Zengguang Minggjia Huapu in ]iezi Yuan Huazhuan(fig. 34), Byeon Kwansik' Travelling through shu Mountain 蜀山行旅圖(fig. 35) and Wu Qingyun' Travelling through shu Mountain from Zengguang Minggjia Huapu in ]iezi Yuan Huazhuan(fig. 36),
As witnessed here. many painters imitated paintings agreeable to their esthetic sense from painting manuals published in Shanghai. It can be seen as an attempt for them to escape from the disoriented tendency of formalization in graphic literati paintings. It is also of great significance that painters in the transitional period from the late Joseon Dynasty to the modem times proactively accepted and responded to the move and changes going on in the artistic circle in Shanghai, which emerged as the center of the modem Chinese culture.
This unsparing effort, however, lost its luster as Korea was reduced to a colony of Japan in 1910. It is even more lamentable that this effort failed to develop as a modem painting style unique to Korea as An Choongsik and Cho Seokjin passed away in 1919 and 1920 respectively. But thanks to the efforts of Chang Seungup, An Choongsik and Cho Seokjin to develop a new, modem landscape painting by accepting the style of Shanghai School, landscape painting in Korea did not take on the Japanese style as figure painting did under the Japanese colonial rule.
In Shanghai which grew as a modem industrial city, a variety of painting manuals had been published since the 1880s tight after the introduction of lithographic publishing in 1876. Mainly printed in these painting manuals were paintings of flowers and birds or figures by painters who had populist inclination such as Ren Xiong(任熊), Ren Xin(任薰) and Ren Yi(任?), Zhang Xiong(張熊), Yang Boren (楊伯澗), Ju Chen(朱?), Fei Danxu(費丹旭), and Chen Huian(錢慧安) etc.. On the other hand. landscape paintings hardly got places in these books since they were painted by only a handful of literati painters such as Cheng Tingru(程庭鷺). Qin Binwen(秦炳文). Qin Zuyong(秦祖永) Gu Yun(顧澐). Wu Guxlang(烏毅祥). Wu Qingyun(吳慶雲), and Chen Yunsheng(陳允升) at the absence of the interest from the public. TI1is shows that the universal style of Shanghai School was reflected in these painting manuals. But as landscape painting was still the most important genre in the transitional period from the late Joseon Dynasty toward the early modem times. I limit. in this paper. the subject of comparison to Renzhai Huasheng(?齊畵?. 1876-1878). Huapo Caixin(畵譜采新, 1885). Zengguang Minggjia Huapu(增廣名家畵譜) in Jiezi Yuan Huazhuan(芥子園畵傅, 1888), and Gujin Mingren Huagao(古今名人畵稿, 1888-1890). which include a relatively large number of landscape paintings.
As a result of the comparison between landscape paintings of Chang Seungup, An Choongsik, Cho Seokjin and Byeon Kwansik(下寬植) and those printed in four painting manuals mentioned above, I can find specific examples. The cases in point are Chang Seungup' Landscape(fig. 13) and Yun Shouping' Landscape from Gujin Mingren Huagao(fig. 14), An Choongsik' Gathering on the Tapwon(fig. 22) and Chen Yunsheng' Landscape from Renzbai Huasheng(fig. 23). Cho Seokjin' Spring Landscape(fig. 27) and Zhang Xiong' Landscape from Huapo Caixintfig 28), Cho Seokjin' Winter Landscapeiiig, 29) and Wu Qingyun' Landscape from Zengguang Minggjia Huapu in fiezi Yuan Huazhuan(fig. 30). Cho Seokjin' Cloudy and Rainy Mountains(fig. 31) and Chao Xun(巢勳)' Landscape from Zengguang Minggjia Huapu in Jiezi Yuan Huazhuan(fig, 32). Cho Seokjin' Autumn Landscape(fig. 33) and Landcape from Zengguang Minggjia Huapu in ]iezi Yuan Huazhuan(fig. 34), Byeon Kwansik' Travelling through shu Mountain 蜀山行旅圖(fig. 35) and Wu Qingyun' Travelling through shu Mountain from Zengguang Minggjia Huapu in ]iezi Yuan Huazhuan(fig. 36),
As witnessed here. many painters imitated paintings agreeable to their esthetic sense from painting manuals published in Shanghai. It can be seen as an attempt for them to escape from the disoriented tendency of formalization in graphic literati paintings. It is also of great significance that painters in the transitional period from the late Joseon Dynasty to the modem times proactively accepted and responded to the move and changes going on in the artistic circle in Shanghai, which emerged as the center of the modem Chinese culture.
This unsparing effort, however, lost its luster as Korea was reduced to a colony of Japan in 1910. It is even more lamentable that this effort failed to develop as a modem painting style unique to Korea as An Choongsik and Cho Seokjin passed away in 1919 and 1920 respectively. But thanks to the efforts of Chang Seungup, An Choongsik and Cho Seokjin to develop a new, modem landscape painting by accepting the style of Shanghai School, landscape painting in Korea did not take on the Japanese style as figure painting did under the Japanese colonial rule.
목차
머리말
上海에서 畵譜들이 출판될 수 있었던 배경과 그 종류
上海에서 발간된 畵譜들의 전래 배경
上海에서 발간된 畵譜를 통한 海上畵派의 산수화풍 수용
맺음말
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ABSTRACT
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