李白의 이미지 유형과 이백 문학의 회화 (The Representation of Li Bai in Visual Arts and Paintings on His Literary Themes)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 274권 / 274호 / 111 ~ 147페이지
· 저자명 : 유순영

초록

이 논문은 시각문화에 표상되어 있는 李白(701-762)의 이미지 유형과 그의 문학이 시각화되는 양상을 고찰한 것이다. 이백은 脫俗的인 酒徒狂客이자 禮法을 거부하는 자유분방하고 오만한 기질을 지닌 독특한 페르소나(Persona)의 인물이다. 특히 실상을 넘어선 새로운 성격과 다양한 면모를 부여받은 인물이라는 점에서 주목을 요한다. 이백을 제재로 한 다양한 주제와 형식의 시각문화가 표상하는 것은 무엇이며, 그의 아우라(Aura)를 좌우하는 문학작품의 시각적 재현양상은 어떠한지를 살펴봄으로써, 한 인물에 대한 문화현상을 종합적으로 검토해보는 데 목적이 있다.
먼저 역사적 인물로서 이백의 실상과 인간적 기질, 그리고 후대에 신비화되는 과정을 살펴보았다. 그는 정치적 불운과 자유분방한 기질로 인해 유교적 이상을 실현하지 못한 채 술과 방랑, 도교적 초월로 현실을 극복하려 한 인물이다. 그러나 사후에 일련의 윤색과정을 거쳐 가공의 인물로 재탄생한다. 송대에는 출생과 죽음, 장안 생활이 미화되어 官撰史料에 수록되었고, 원대 이후에는 雜劇과 話本소설에서 새로운 일화와 再編된 이야기들이 만들어졌다.
시각문화에 표상된 이백의 이미지는 네 가지 유형으로 고찰해보았다. 翰林供奉의 관리, 詩酒風月의 낭만적 풍류객, 불의에 저항하는 영웅, 도교의 초월자, 신선이다. 초상화와 석각 및 판화에 그려진 인물상에는 翰林學士를 지낸 官歷이 잘 드러나며, 낭만적 풍류객의 모습은 行吟, 捉月, 賞月, 泛舟, 觀瀑 등 다양한 화제로 나타나고, 酒仙의 형상에서 극대화된다. 高力士, 楊貴妃 등과 관련된 역사고사화에서는 불의에 저항하는 영웅의 이미지를, 산중에 은거한 道人과 신선이 되어 昇天하는 모습에서는 도교의 초월자로서의 이미지를 읽을 수 있다.
이백의 시 가운데 詩意圖로 그려진 詩題는 30首 이상으로 파악된다. 杜菫은 白描人物畵法과 馬夏派 화풍이 잔존하는 浙派화풍의 시의도를 그렸으며, 명대 후반기 蘇州화단과 명말기 문인들은 복고주의 문학론에 힘입어 각자 개성적인 작품을 선보였다. 소주 지역 화가들의 작품에서는 「望廬山瀑布」와 「蜀道難」의 시각화 양상을 볼 수 있으며, 李流芳과 項聖謨는 사의적인 문인화풍의 작품을 남겼다. 청대에는 蕭雲從과 石濤가 각각 판화와 회화로 독특하고 개성적인 시의도를 남겨 주목된다. 李白詩意圖는 도연명, 왕유, 두보시의도에 비하면 그 수가 적은 편인데, 이는 호방하고 낭만적인 詩風이 추앙의 대상이 되기는 했으나 詩學을 학습하는 데 적절한 모델은 아니었기 때문으로 생각된다.
春夜宴桃李園圖는 정원을 배경으로 한 雅集圖 계열의 작품으로, 명대 후기에 雅會圖가 크게 유행하면서 다시 부각되었다. 명말에는 정원의 詩會장면과 야외아집도 분위기의 작품이 공존하다가 청대에는 산수표현이 강조되는 경향으로 변모한다.

영어초록

This paper explores the various types of representations of Li Bai (701-762) in visual art forms and visual languages used to translate his poems in these art forms. The prototype ‘drunken poet,’ Li Bai was an eccentric man who was free-spirited and spurned conventions.
Interestingly, the life and legacy of this larger than life literary figure have been constantly reinterpreted and given new dimensions through the course of history. The goal of this study is to examine how Li Bai is represented in the many visual artworks that are either thematically or formally inspired by him and how his poems that are the concrete sources of the manifold images of him are visually rendered in them, as an attempt to develop a global understanding of cultural phenomena spawned by this literary figure.
The paper begins by looking at established facts about his life and attempts to sketch out a portrait of Li Bai both as a man and as a poet. The paper then proceeds to examine the process through which a personality cult was developed around him after his death. During his lifetime, Li Bai’s pursuit of Confucian social ideals was foiled by a series of political misfortunes and his own convention-flouting behavior. Disillusioned and frustrated, Li Bai turned to drinking and wandered across the country, while seeking an escape from reality through Taoism. After his death, Li Bai was reinvented through an amount of posthumous embellishing. During the Song Dynasty, the story of his life was included in state-published history books, with embellished accounts of his birth, death and the period of his life spent in the capital. During the Yuan Dynasty and thereafter, new anecdotes or retold accounts of known anecdotes from his life were made into plays or novels.
In this study, images of Li Bai as projected in visual arts are examined by focusing on four main types of representation: A scholar-official who was a member of Yu-lin, a romantic portrayal of a wandering poet, a hero rebelling against the establishment and a Taoist near-immortal above mundane. Portrait paintings, stone carvings and woodcuts representing Li Bai depict him most often as a scholar-official of Yu-lin. Meanwhile, representations of Li Bai as a romantic wandering poet, enamored with wine, take various forms ranging from a poet in exile, poet drowning while attempting to grab the moon reflected on the river, poet contemplating the moon in the night sky, poet enjoying boating and a poet delighted by the view of a waterfall, while the most emphatic expression of it doubtless remains his image as the ‘immortal of wine (Shixian).’ Li Bai is portrayed as a hero warring against injustice in stories involving historical figures such as Gao Lishi and Imperial Consort Yang Guifei. Finally, the poet is a Taoist hermit living in retreat in deep mountains who eventually becomes an immortal and is lifted to heaven.
There are some thirty or more Li Bai’s poems that are painted. Du Jin painted on themes from poetry in the style of the Zhe School, blending the Baimiao(白描) figure painting technique and displaying a hint of influence of the Mahsia school. In the late Ming Dynasty, works showing strong individual personalities were produced both in the art circles of Suzhou and by literati painters amid the revivalism in literature. Such poems by Li Bai as ‘Wang lushan pubu (View of a Waterfall in Lushan)’ and ‘Shu dao nan (Hard Roads in Shu)’ were popular themes among Suzhou painters. Li Liufang and Xiang Shengmo, meanwhile, left literati-style paintings having distinct personal stamps. During the Qing Dynasty, Xiao Yuncong and Shi Tao made original and memorable renditions of poems of Li Bai, in woodcuts and paintings. Compared to paintings on poems by Tao Yuanming, Wang Wei or Dufu, for example, works on Li Bai’s poems are fewer in number. This appears to be due to the fact that the latter’s poems, although admired for their free and romantic qualities, were not considered the right kind of models for studying poetry.
Paintings on Banqueting in Peach and Plum Garden on Spring Night, however, received renewed attention in the late Ming Dynasty thanks to the popularity of the paintings known as “yaji-tu(雅集圖),” which most often portrayed scenes in a garden. This Theme, mainly rendered through scenes of poetic gatherings in a garden or outside in the late Ming period, became visualized, later during the Qing Dynasty, in works laying greater emphasis on landscape.

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