중국 〈郭子儀祝壽圖〉 연구: 연원과 발전

서지정보

ㆍ발행기관 : 한국미술연구소 ㆍ수록지정보 : 美術史論壇 / 33권
ㆍ저자명 : 김홍남

영어 초록

This study demonstrates that the Painting of Birthday-Celebration of Guo Ziyi (郭子儀祝壽圖) of China and the Painting of Guo Fenyang’s Enjoyment-of-Life(郭汾陽行樂圖) of Korea are the paintings of the same subject with different titles, derived from the life of Guo Ziyi(郭子儀, 697-781), the Lord of Fenyang(汾陽王). Given such specific subject-matter, these paintings, regardless of country, involve numerous figures and strong architectural presence, thus can be aptly called “architectural figure painting.” Nevertheless each bears distinct mark of its own nationality. Thus, it presents an interesting art historical case in which two countries sharing the same subject, but each with its own characteristic development in iconography and style.
In China this subject of painting appears to have been popular mainly outside of the palatial context from the turn of 17th century through the modern times in various media including lacquer folding-screen. In Korea, the earliest known record of the painting dates from about 1700. It became popular particularly in multi-fold screen format both in and outside of the palace. No scholarly research on the subject has been found in China up to now, not to mention comparative studies in both countries.
This study is presented in two separate parts: “A Study on the Painting of Birthday-Celebration of Guo Ziyi of China,” and “A Study on the Painting of Guo Fenyang’s Enjoyment-of-Life of Korea”. In the first part, it examines China’s historical development of the Guo Ziyi-related subject in various art forms and literature. It also attempts an iconographical and stylistic classification of representative specimen. This also serves the purpose of comparison with the Korean counterparts. In the second part, it traces Korea’s historical context and development of Guo Ziyi-related subjects in art and literature. It then moves on to the screen paintings and reveals the extent of Korean transformation of the given subject by the end of 18th century in terms of pictorial intention and symbolic purpose, particularly apparent in architectural configuration and figurative presentation.

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