17-18세기 조선의 工筆 彩色人物畵 연구 (Gongpil Color Figure Paintings of 17th-18th Joseon Korea)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 267권 / 267호 / 5 ~ 47페이지
· 저자명 : 이홍주

초록

공필 채색인물화는 왕의 명에 의해 그려지거나 궁중을 중심으로 제작된 鑑戒畵, 관료들의 모임을 기록하는 契屛 등으로 제작되었다. 많지 않은 현전작품과 기록으로 볼 때 17세기 이전 공필 채색인물화는 기마·수렵, 琴棋書畵 등 주제와 화풍 면에서 중국 원체 인물화의 영향을 받았음을 알 수 있다. 이러한 그림들은주로 明君暗君圖, 耕織圖, 孝子圖 등의 감계화로 병풍 형식이 특히 애호되었다.
17세기는 이전까지 조선에서 접하기 힘들었던 중국의 화적과 판화 삽도가 포함된 각종 서적의 유입으로 다양한 인물화 화제가 조선으로 전해졌다. 또한 궁중화원 출신으로 인물화에 능했던 중국인 화가 孟永光이 내조하여 보다 구체적인 중국 院體 인물화풍이 조선에 전해졌다. 조선 내부적으로는 17세기부터 병풍형식의 계회도가 유행하면서 채색인물화가 그려지는 주된 화면이 되었으며 인조와 숙종은 서화를 좋아하며 적극적으로 회화 제작을 지시하여 정치적 의도를 드러냈다. 그들이 총애한 맹영광과 이명욱의 그림 및어제가 있는 그림들의 화풍으로 보아 청록산수 및 채색 인물화를 선호하였던 것으로 보이며 이러한 군주의 선호가 도화서의 채색화풍 발달에 영향을 주었을 것으로 생각된다. 17세기 채색인물화에 능했던 화원및 직업화가는 이명욱, 조세걸, 진재해 등이 있다. 화풍적으로는 산수 배경은 경물군이 화면을 지그재그로분할하는 삼단구성이 유지되는 경향이 있고 채색은 18세기에 비해 옅고 맑은 느낌을 준다. 또한 〈東門送別圖〉와 〈權大運耆老宴會圖屛〉 등은 조선 문인 관료들의 모임을 중국 고사 속의 문인아집과 같이 표현하는흥미로운 시도가 이루어졌다.
18세기에는 계병에 행사장면을 그리는 것이 정착되었으나 채색의 고사인물을 그리는 관행도 지속되었다. 채색인물화로는 유명 시문과 고사 등을 담은 화첩들의 제작이 늘어났고 이들은 세자의 교육과 관련이 깊다.
화제 면에서는 난정수계도, 서원아집도, 사녀도, 청명상하도 등 17세기에 유입된 화제들이 구영 등 명대 화가들에 의해 표준화된 구도 및 화풍으로 수용되면서 조선에서 선호된 병풍 형식에 맞추어 화면을 재구성하는 등의 변용이 일어났다. 18세기 후반에 이르면 요지연도, 백자도, 곽분양행락도 병풍이 즐겨 제작되었다. 이들은 중국적 주제이나 도상적 구성은 조선에서 새롭게 만들어진 것이다. 이 길상적 성격의 그림들은 먼저 민간의 장식병풍으로 사용된 것으로 보이며 19세기에는 궁중에서도 본격적으로 궁중행사에 사용되었다.
18세기 공필 채색인물화가는 김진여, 장득만, 장계만, 한후량, 한후방, 양기성, 정홍래, 진재해, 신한평, 강희언, 김득신 등이다. 18세기의 채색은 보다 짙고 장식적이며 모티브는 도식화되었다. 그림 속 여인들은 사녀 표현의 전형으로 굳어진 명대 구영의 화풍으로 그려졌으며 고정된 화본이 반복적으로 모방되었다.

영어초록

Gongpil color figure paintings of the Joseon period, meticulously realistic figure paintings in color with fine details, were primarily court paintings whether or not they were directly commissioned by the court. They were mostly‘didactic paintings’with explicit moral contents or folding screens documenting major courtly events.
What one can gather from a few gongpil figure paintings that have survived to the present, prior to the 17th century, they were mostly on such subjects as horse-riding,hunting, and four accomplishments of noblemen [the zither, the chess game, calligraphy,and painting] (Geumgiseohwa ), and were stylistically influenced by Chinese acadmic figure painting style known as“yuanti (painting academy style).”Didactic paintings on themes like‘good and bad rulers,’agriculture and sericulture, and filial piety were particularly popular. The format of folding screens was much favored.
Once into the 17th century, various Chinese paintings and books containing paintings and woodblock illustrations, still then a rarity, became widely available in Joseon. The visit by Meng Yongguang (active mid-seventeenth century), a Chinese court painter excellent in figure painting, helped to introduce and make popular a more orthodox yuanti style. In particular, folding-screen paintings of social gatherings gained popularity and became the main genre of color figure painting. King Injo (r. 1623-1649) and King Sukjong (r. 1674-1720)were fond of paintings and frequently commissioned paintings. Paintings commissioned by them were at times intended to show their political thoughts and visions. Paintings by Meng Yongguang and Yi Myeong-uk (active late seventeenth century), the two favorite painters of these monarchs, and other paintings for which the kings personally wrote verses indicate that blue and green landscapes and color figure paintings were their preferred genres. The taste of the monarch must certainly have had an influence on the style of color paintings produced by court painters. Notable 17th-century court painters and professional painters,acclaimed for their color figure paintings, include Yi Myeong-uk, Jo Se-geol, and Jin Jaehae.
One of the characteristic features of paintings by these painters was the three-tier composition in which the landscape serving as the backdrop was divided into three sections having zigzag sides. Colors used in 17th-century figure paintings tended to be lighter than those in 18th-centurypaintings. Such paintings as Dongmunsongbyeoldo (Farewell at the East Gate) and Gwon Dae-un Giroyeonhoedobyeong (Gwon Dae-un's Banquet Scene in Honor of Senior Officials) are of great interest in depicting gatherings of Joseon scholarofficials in a style recalling the legendary meetings of literati in Chinese history like the “Elegant Gathering at the Western Garden.”During the 18th century, while the depiction of scenes from social events on folding screens became an established genre, the practice of painting mythological or historical figures in color also continued to flourish. There was an increase in the production of painting albums containing famous verses and historical anecdotes, many of which were probably used as instructional materials for crown princes.
Paintings of Chinese subjects such as Nanjeongsugyedo (The Gathering at the Orchid Pavilion), Seowonajipdo (Elegant Gathering at the Western Garden), Sanyeodo (Beautiful Ladies / Court Ladies) and Cheongmyeongsanghado (Along the River during the Qingming Festival) were introduced in Joseon Korea during the 17th century. They were re-adapted into folding-screen paintings or otherwise re-accommodated to suit the local taste. Paintings of the same subjects by by Qiu Ying and other Ming-dynasty Chinese painters were much sought-after. Toward the late 18th century, such themes as Yojiyeondo (The Feast at the Yao Pond), Baekjado (One Hundred Children), and Gwakbunyanghaengnakdo (Luxurious Life in the Style of Guo Ziyi) also became popular. These Chinese themes were, however, given new iconographic contents in Joseon painting. Paintings on folding screens with auspicious meanings were initially produced for decorating private homes. During the 19th century,court paintings based on such Chinese themes were actively produced for court ceremonies.
During the 18th century, painters like Kim Jin-yeo, Jang Deuk-man, Jang Gye-man, Han Hu-ryang, Han Hu-bang, Yang Gi-seong, Jeong Hong-rae, Jin Jae-hae, Sin Han-pyeong, Kang Hui-eon and Kim Deuk-sin stood out for their gongpil color figure paintings. Works from the 18th century tended to be more decorative with more opaque colors and more stylized motifs. Women, for instance, were depicted rigidly in the same manner as how they were portrayed in Ming-Chinese paintings of court ladies. The manner of depicting women followed the style of Qiu Ying.

참고자료

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