남성의 붓[筆] 아래 놓인 唐代 女性 - 再現 양상 및 생산과 소비 측면에서 본 당대 仕女畵 - (Women under Men’s Brushes: Representation, Production, and Cultural Consumption of Painting of Court Ladies in the Tang Dynasty)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 306권 / 306호 / 163 ~ 193페이지
· 저자명 : 소현숙

초록

본고는 당대 사녀화를 재현된 공간, 이미지의 재현 양상, 그리고 생산과 소비 등의 세측면으로부터고찰하였다. 특히 사녀화가 민간에서 성행하는 8세기 중반 이후에 주목하고, 이 시기 사인층과 기녀의사녀화 감상 및 소비 양상을 집중적으로 분석했다. 나아가 공적 공간에 놓이는 사녀화의 성격과 기능을 분석하여여기에관철되는이데올로기를구명했다.
고분벽화 속사녀화는 유교의 ‘남녀유별’ 관념을 반영하고 있으며, 사녀화 속여성 이미지는 대부분전통적인 ‘婦德을 갖춘 요조숙녀’였다. 비록 騎馬仕女畵 같은 예외가 존재했지만, 당대 사녀화 전반에는 남성적시선과욕망이깊이관철되고있었던것이다.
경제 발달로 인한 도시의 성장과 함께 번성한 妓樓文化 및 과거제의 발전으로 인한 사인층의급격한 증대는 사녀화 발전의 동력이었다. 기녀와 사인들은 병풍과 畵障의 형태로 제작된 사녀화의 주요소비자였다. 그러므로 사녀화에는 두 계층, 즉 여성과 남성의 욕망이 혼재되어 있었을 것이다. 그럼에도불구하고직업의속성상기녀의욕망은사인들의그것에속박되었을것이다. 한편,공공공간에출현하는사녀화는 비록 美人의 모습으로 재현되었다 하더라도, 여전히 ‘鑑戒’와 ‘敎化’라는 열녀도의 전통적 성격을갖고있었다.

영어초록

This paper explores painting of court ladies from the Tang dynasty, closely examining its pictorial space, mode of representation, and production and cultural consumption. Particular attention will be paid to the mid-eighth century and subsequent decades, the period which witnessed a full-fledged popularity of the genre, and to a thorough analysis of how men of letter and women of entertainment viewed and enjoyed it. A further analysis will be on chracteristics and functions of the painting of ladies that was on public display, aiming to illuminate underlying ideologies.
Female figures of tomb paintings, for example, were placed in an inner space of a house, which reflects a dominant Confucian doctrine of “distinction between genders” that demarcates the inner/outer or woman/man boundaries. Even though the Tang dynasty is referred to as an open society having imposed less confinements on women than any other periods, the images of women cling to a conservative prototype Yaotiao shunü or lady of grace and virtues. It is true that a painting like Court Ladies of Guo on a Spring Excursion, which portrays women sitting astride horses, is extant. However, the scroll should be considered an exception; Rather many other surviving examples of the genre embody men’s gaze and desire.
In the Tang dynasty, economic prosperity led cities to grow and a culture of entertainment and banquets to flourish. A sub-culture of courtesan’s chambers also thrived in the cosmopolitan milieu, forming a liaison with the literati class that had been surging to elite status since the establishment of the civil service examination. The bond served as a powerhouse in the development of the painting of court ladies. The professional ladies and the lettered elite were main audiences, together appreciating or commenting on the noble ladies— depicted on screens or banners—in an open space such as a courtesan chamber or a banquet hall. It seems plausible therefore that male and female desires were embedded alike in the paining; Given the nature of the latter’s profession, however, the desires of courtesans would have been subordinate to those of men.
Interestingly, the painting of court ladies carries didactic and edifying functions even when it merely represents a beauty. Since the moralistic denotation was in line with a Han dynasty tradition of painting chaste ladies, it should be assessed that the painting of court ladies from the Tang dynasty was not able to go outside the purview of Confucian ideaologies. Nor was it even when a viewer saw nobody but a Chinese belle.

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