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Real-scenery landscape paintings (silgyeong sansuhwa, 實景山水畵) in the nineteenth century were produced in various forms such as albums, scrolls or folding screens, since patronage for the real-scenery landscape paintings by gyeonghwasejok had expanded due to travel for exploring natural beauties and their interest in collecting paintings and calligraphies. Gyeonghwasejok refers to aristocrats (yangban) living in the nation’s capital whose families’ social and economic status were guaranteed by monopolization of their government official posts. Gyeonghwasejok was a patron to painters, as well as a collector with the power of controlling the art market. Gyeonghwasejok, who dominated the painting circles in the nineteenth century, chose jabidaeryeong hwawon (painters-in-waiting) who were regarded as the best painters in their time after Kim Hong-do or local literati painters for their commissions.
Gyeonghwasejok patronized real-scenery landscape paintings in the political situation of Noron (Old Doctrine)’s in-law government in the nineteenth century because of fascination over traveling for exploring the beauty of nature and their interest in collecting paintings and calligraphies, expression of consciousness of lineage and channels for political exchange, and the increased trend of treasuring Kim Hong-do’s Haesan-cheop. Gyeonghwasejok was active in producing real-scenery landscape paintings, as they were infatuated with traveling and collecting, while reading travel poems and travel diaries of their predecessors or treasuring inherited objects related to traveling for exploring the beauties. Further, Gyeonghwasejok reproduced gajeon hwacheop (painting albums preserved in one’s family) or gajeon hwabyeong (folding screens preserved in one’s family) that revealed their consciousness of lineage, or produced travel albums of paintings to get forewords or inscriptions from high-ranking officials, so they strived to secure their political positions. This is evidenced by Gosangugok sihwabyeong commissioned in 1803 by Andong Kim’s clan, a representative Noron’s family in power, and by the fact that they commissioned a painter to remake a copy of Gokwun gugok docheop in 1804. With the increased trend of treasuring Kim Hong-do’s Haesan-choep, gyeonghwasejok accompanied jabidaeryeong hwawon their journeys to produce travel albums of paintings or commissioned painters to reproduce travel albums of paintings in Kim Hong-do’s style.
Real-scenery landscape paintings in the nineteenth century were patronized by two political powers; Noron’s gyeonghwasejok, who has substantial political power, and Soron(Young Doctrine)’s gyeonghwasejok, who cooperated with a family in power. Noron’s gyeonghwasejok who settled around the capital had the power not only in political circles but in art circles as well. Noron Yi Gwang-mun (1778-1838)’s Haesan docheop is a travel album of paintings executed by Kim Ha-jong (1793-1878) for his patron Yi Gwang-mun in his distinctive manner, which did not follow Kim Hong-do’s Haesan-choep, but rather reflected Yi’s idea of depicting actuality. This paper confirms that Kim ha-jong, who died in 1878, had a pen name of“Sungyanggeosa,”or was called “Yeonungongyang,”and it is presumed that Kim Jeong-hee (1786-1856), who had associated with Yi Gwang-mun, left an inscription on the cover of the album.
Moreover, in the nineteenth century it was very competitive to be nominated by dodanghoegwon, so Jeong Won-yong, Yi Pung-ik, Yi Yu-won of Soron could not be appointed to high-ranking official posts without the support of Noron’s family in power. Haoedo sipgokbyeong patronized by Soron Jeong Won-yong (1783-1873) in 1828 was the gajeon hwabyeong commissioned to Yi Ui-seong, aimed to elevate the Jeong clan’s prestige, which is a reproduction of Haoesanghanakgang ildaedo, which included the poems of his ancestor Jeong Yu-gil and of the hometown of the Jeong clan. Jeong Wonyong published Dongseong gyoyeojip which compiled the poems of gyeonghwasejok who took part in the compilation of Hongjae jeonseo (collected works of King Jeongjo), which shows the Soron circle’s tendency to cooperate with Noron’s family in power centering on Kim Jo-sun (1765-1831). When Jeong Won-yong traveled to Mt. Seoraksan in 1828, he selected his travel course to Gamyeong (the provincial government office) after he visited Andong Kim’s clan’s Gokun valley, mostly because Gokun gugok, Andong Kim’s clan’s hometown, was an esteemed place to go amongst Soron gyeonghwasojok. Dongyucheop which was commissioned by Soron Yi Pung-ik (1804-1887) in 1825 is identical to its composition to Kim Hong-do’s Haesancheop and it also is siseohwa hapbyeokcheop, which is an album to which the subjects of painting and the actual travel courses correspond. Although Dongyucheop may be a copy of Kim Hongdo’s Haesancheop in its composition, detailed renderings are found to be different since the patron’s ideas was reflected. Soron Yi Yu-won (1814-1888)’s Pungakgwon is a travel album of paintings in eclectic style accommodating literati paintings of the Southern School painted by Kim Ha-jong in 1865, reflecting the patron’s style and taste. Pungakgwon is a lengthened real-scenery landscape painting with 64 pieces of paintings, which demonstrates characteristics of real-scenery landscape paintings of the nineteenth century in eclectic style.
Real-scenery landscape painting patronized by gyeonghwasejok had an effect on the painting circles in the nineteenth century, such as broadening the new subjects of painting as the travel courses expanded, resulting in lengthening real-scenery landscape painting. This is shown in Geungangsandogwon of 75 scenes by an anonymous painter, which was a copy of Kim Hong-do’s Geungangsandogwon that only started from Bukgwanjeong Pavillion to Sinreuksa Temple.
Travel albums of paintings in Kim Hong-do’s style were widely produced even among the middle-class people and wealthy merchants who admired gyeonghwasejok’s enjoying culture of the increased trend of treasuring Kim Hong-do’s Haesancheop in the nineteenth century. Copies of travel album of paintings in Kim Hong-do’s Haesancheop style included Yi Ui-seong (1775-1833)’s Haesancheop, and anonymous Geungangsandogwon. Further, Haeakdo palgokbyeong painted by Jo Jeong-gyu (1791-?) in 1860 seem to be associated with Kim Hong-do’s Haeakdo palgokbyeong and the prevalence of similar iconography in the early part of the 20th century suggests that Jo Jeong-gyu’s painting may have served as a draft album.
The practice of producing real-scenery landscape painting, which facilitated securing gyeonghwasejok’s political position in the nineteenth century, was extended to local noble families and volunteers that demanded professional painters to portray the sceneries of their land properties to secure their dominion. This is evidenced by Yeonggwang punggyeong sipgokbyeong, which was commissioned to the court painter An Jung-sik (1861-1919) by Hakcheon Jo Hi-gyeong brothers in 1915 to portray Yeonggwang region with the eight sceneries seen from Chehwajeong Pavilion.
Real-scenery landscape paintings of the nineteenth century patronized by gyeonghwasejok were depicted as the actual scenic spots drawing from nature to meet the patrons’ demand to portray the real-scenery. Chongseokjeong Pavilion was depicted from the perspective of boating in the sea in the nineteenth century, which was also selected as one of the themes in Yi Ui-seong’s“Chongseokjeong”in Haesancheop and Chongseokjeong jeolgyeongdo by Kim Gyu-jin (1868-1933).
Real-scenery landscape paintings in the nineteenth century were prevalent not only among gyeonghwasejok but amongst the middle-class people and wealthy merchants as well, who became new leaders in the society, and depicted in the styles they demanded, which became modern realistic landscape paintings (sagyeong sansuhwa, 寫景山水畵) that rendered daily scenes. With this paper, it was intended to investigate the real-scenery landscape painting as a transitional phase from the true-view landscape painting (jingyeong sansuhwa, 眞景山水畵) to modern realistic landscape painting, instead of evaluating it as a decline of true-view landscape by recognizing the significant influence of gyeonghwasejok’s real-scenery landscape painting in the nineteenth century which was based on portraying the actuality of the scenery.
Gyeonghwasejok patronized real-scenery landscape paintings in the political situation of Noron (Old Doctrine)’s in-law government in the nineteenth century because of fascination over traveling for exploring the beauty of nature and their interest in collecting paintings and calligraphies, expression of consciousness of lineage and channels for political exchange, and the increased trend of treasuring Kim Hong-do’s Haesan-cheop. Gyeonghwasejok was active in producing real-scenery landscape paintings, as they were infatuated with traveling and collecting, while reading travel poems and travel diaries of their predecessors or treasuring inherited objects related to traveling for exploring the beauties. Further, Gyeonghwasejok reproduced gajeon hwacheop (painting albums preserved in one’s family) or gajeon hwabyeong (folding screens preserved in one’s family) that revealed their consciousness of lineage, or produced travel albums of paintings to get forewords or inscriptions from high-ranking officials, so they strived to secure their political positions. This is evidenced by Gosangugok sihwabyeong commissioned in 1803 by Andong Kim’s clan, a representative Noron’s family in power, and by the fact that they commissioned a painter to remake a copy of Gokwun gugok docheop in 1804. With the increased trend of treasuring Kim Hong-do’s Haesan-choep, gyeonghwasejok accompanied jabidaeryeong hwawon their journeys to produce travel albums of paintings or commissioned painters to reproduce travel albums of paintings in Kim Hong-do’s style.
Real-scenery landscape paintings in the nineteenth century were patronized by two political powers; Noron’s gyeonghwasejok, who has substantial political power, and Soron(Young Doctrine)’s gyeonghwasejok, who cooperated with a family in power. Noron’s gyeonghwasejok who settled around the capital had the power not only in political circles but in art circles as well. Noron Yi Gwang-mun (1778-1838)’s Haesan docheop is a travel album of paintings executed by Kim Ha-jong (1793-1878) for his patron Yi Gwang-mun in his distinctive manner, which did not follow Kim Hong-do’s Haesan-choep, but rather reflected Yi’s idea of depicting actuality. This paper confirms that Kim ha-jong, who died in 1878, had a pen name of“Sungyanggeosa,”or was called “Yeonungongyang,”and it is presumed that Kim Jeong-hee (1786-1856), who had associated with Yi Gwang-mun, left an inscription on the cover of the album.
Moreover, in the nineteenth century it was very competitive to be nominated by dodanghoegwon, so Jeong Won-yong, Yi Pung-ik, Yi Yu-won of Soron could not be appointed to high-ranking official posts without the support of Noron’s family in power. Haoedo sipgokbyeong patronized by Soron Jeong Won-yong (1783-1873) in 1828 was the gajeon hwabyeong commissioned to Yi Ui-seong, aimed to elevate the Jeong clan’s prestige, which is a reproduction of Haoesanghanakgang ildaedo, which included the poems of his ancestor Jeong Yu-gil and of the hometown of the Jeong clan. Jeong Wonyong published Dongseong gyoyeojip which compiled the poems of gyeonghwasejok who took part in the compilation of Hongjae jeonseo (collected works of King Jeongjo), which shows the Soron circle’s tendency to cooperate with Noron’s family in power centering on Kim Jo-sun (1765-1831). When Jeong Won-yong traveled to Mt. Seoraksan in 1828, he selected his travel course to Gamyeong (the provincial government office) after he visited Andong Kim’s clan’s Gokun valley, mostly because Gokun gugok, Andong Kim’s clan’s hometown, was an esteemed place to go amongst Soron gyeonghwasojok. Dongyucheop which was commissioned by Soron Yi Pung-ik (1804-1887) in 1825 is identical to its composition to Kim Hong-do’s Haesancheop and it also is siseohwa hapbyeokcheop, which is an album to which the subjects of painting and the actual travel courses correspond. Although Dongyucheop may be a copy of Kim Hongdo’s Haesancheop in its composition, detailed renderings are found to be different since the patron’s ideas was reflected. Soron Yi Yu-won (1814-1888)’s Pungakgwon is a travel album of paintings in eclectic style accommodating literati paintings of the Southern School painted by Kim Ha-jong in 1865, reflecting the patron’s style and taste. Pungakgwon is a lengthened real-scenery landscape painting with 64 pieces of paintings, which demonstrates characteristics of real-scenery landscape paintings of the nineteenth century in eclectic style.
Real-scenery landscape painting patronized by gyeonghwasejok had an effect on the painting circles in the nineteenth century, such as broadening the new subjects of painting as the travel courses expanded, resulting in lengthening real-scenery landscape painting. This is shown in Geungangsandogwon of 75 scenes by an anonymous painter, which was a copy of Kim Hong-do’s Geungangsandogwon that only started from Bukgwanjeong Pavillion to Sinreuksa Temple.
Travel albums of paintings in Kim Hong-do’s style were widely produced even among the middle-class people and wealthy merchants who admired gyeonghwasejok’s enjoying culture of the increased trend of treasuring Kim Hong-do’s Haesancheop in the nineteenth century. Copies of travel album of paintings in Kim Hong-do’s Haesancheop style included Yi Ui-seong (1775-1833)’s Haesancheop, and anonymous Geungangsandogwon. Further, Haeakdo palgokbyeong painted by Jo Jeong-gyu (1791-?) in 1860 seem to be associated with Kim Hong-do’s Haeakdo palgokbyeong and the prevalence of similar iconography in the early part of the 20th century suggests that Jo Jeong-gyu’s painting may have served as a draft album.
The practice of producing real-scenery landscape painting, which facilitated securing gyeonghwasejok’s political position in the nineteenth century, was extended to local noble families and volunteers that demanded professional painters to portray the sceneries of their land properties to secure their dominion. This is evidenced by Yeonggwang punggyeong sipgokbyeong, which was commissioned to the court painter An Jung-sik (1861-1919) by Hakcheon Jo Hi-gyeong brothers in 1915 to portray Yeonggwang region with the eight sceneries seen from Chehwajeong Pavilion.
Real-scenery landscape paintings of the nineteenth century patronized by gyeonghwasejok were depicted as the actual scenic spots drawing from nature to meet the patrons’ demand to portray the real-scenery. Chongseokjeong Pavilion was depicted from the perspective of boating in the sea in the nineteenth century, which was also selected as one of the themes in Yi Ui-seong’s“Chongseokjeong”in Haesancheop and Chongseokjeong jeolgyeongdo by Kim Gyu-jin (1868-1933).
Real-scenery landscape paintings in the nineteenth century were prevalent not only among gyeonghwasejok but amongst the middle-class people and wealthy merchants as well, who became new leaders in the society, and depicted in the styles they demanded, which became modern realistic landscape paintings (sagyeong sansuhwa, 寫景山水畵) that rendered daily scenes. With this paper, it was intended to investigate the real-scenery landscape painting as a transitional phase from the true-view landscape painting (jingyeong sansuhwa, 眞景山水畵) to modern realistic landscape painting, instead of evaluating it as a decline of true-view landscape by recognizing the significant influence of gyeonghwasejok’s real-scenery landscape painting in the nineteenth century which was based on portraying the actuality of the scenery.
목차
Ⅰ. 머리말
Ⅱ. 19세기 京華世族의 實景山水畵 後援 배경
Ⅲ. 19세기 京華世族의 實景山水畵 後援 양상
Ⅳ. 19세기 京華世族의 實景山水畵 後援이 畵壇에 미친 영향
Ⅴ. 맺음말
참고문헌
〈Abstract〉
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