만들어진 명작: 신사임당과 초충도(草蟲圖) (The Invention of the Canon: Sinsaimdang (1504-1551) and Insects and Plants)

서지정보

· 발행기관 : 미술사와 시각문화학회
· 수록지 정보 : 미술사와 시각문화 / 12호 / 58 ~ 91페이지
· 저자명 : 조규희

초록

이 논문은 신사임당(1504-1551)의 그림이 16세기부터 현재까지 늘 특정한 시점에 특권층의 이해관계 속에서 특별한 문화적 기능을 위해 의도적으로 주목되었음을 밝히고자 하였다. 즉 신사임당의 그림은 서로 다른 특수한 역사적 상황 속에서 지속적으로 새로운 문화적 의미를 창출하며 한국회화사의 명작이 된 것이다. 특히 초충도는 현재 5만원권 지폐의 도안으로 사용될 만큼 신사임당의 대표작이자 한국회화사의 정전(正典)급 작품으로 자연스럽게 인식되고 있다. 그러나 초충도는 신사임당의 대표작으로 소개된 18세기 초반부터 현재까지 실상은 고도의 정치적인 계산속에서 전혀 자연스럽지 않게 고안된 명작이었다. 이 논문은 초충도를 사용한 주체와 시기, 목적 등과 같은 역사적 상황에 초점을 맞춰, 신사임당과 초충도에 대한 담론의 역사 속에 개입된 정치적 의미를 살펴본다.

영어초록

This article explores how Sinsaimdang and her paintings exhibited social functions according to particular political and cultural interests of the powerful social forces in different times. Shinsaimdang's Insects and Plants was invented as her masterpiece by the members of the Noron (Old Doctrine) party in the early 18th century. Even to the current day, Sinsaimdang and her artwork contain immeasurable significance and influence. Thus, it has become the canon of Korean art history.
The completion of Gosangugok (the Nine-Bend Stream of Gosan) which depicts Yi I's (1536-1584) Seokdam dwelling, and the invention of Sinsaimdang's Insects and Plants by the Noron party were simultaneous events in 1709. A sense of crisis was spreading within them as King Sukjong (r. 1674-1720) appointed Yoon Jeung (1629-1714), the leader of the opposite Soron (Young Doctrine) faction, as Vice State-Councilor in 1709. Thus, it means that the Noron formed the discourse on Sinsaimdang's Insects and Plants through the political strife between Noron and Soron. They wanted to strengthen the solidarity of their party members using visual images related to Yi I because they thought that the true way had been passed from the founder of Neo-Confucianism Zhu Xi to the Noron party through Yi I. After this, Sinsaimdang's Insects and Plants continued to make new political meanings and caused cultural influence in Korean society. It became a social myth in 1960s and 1970s. This implies that Sinsaimdang's Insects and Plants was used as the medium of the cultural dominance of the government. The making of Insects and Plants as symbolic capital in which the state was deeply involved was inseparable from the political values and interests of the dominant classes that served to invent Sinsaimdang as a cultural heroine. They could persuade people to think what they want them to think, and naturalize their political messages. Interpretations and evaluations of major canonical works in Korean art history have constantly been influenced by the art historians and curators of major museums and art markets. They also sometimes support the Sinsaimdang myth for political purposes and reasons. In all respects, the image of Sinsaimdang and the historical significance of Insects and Plants have been invented.

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