18세기 揚州 소금상인과 庭園圖 — 東園圖와 休園圖를 중심으로 — (18th-century Yangzhou Salt Merchants and Garden Paintings: On the Cases of The East Garden and The Garden of Repose)

서지정보

· 발행기관 : 온지학회
· 수록지 정보 : 온지논총 / 40호 / 197 ~ 236페이지
· 저자명 : 유순영

초록

이 논문은 康熙年間의 직업화가 袁江과 王雲이 그린 ≪東園圖≫와 ≪休園圖≫의 주문자 및 제작경위와 회화표현을 고찰한 것이다. 두 작품은 揚州八怪가 등장하기 이전의 양주 화단의 상황과 청 초기 정원도의 양상을 보여줄 뿐 아니라 山西와 徽州 출신 염상의 문화예술 활동을 구체적으로 파악할 수 있는 사례이다.
≪동원도≫와 ≪휴원도≫는 각각 全圖式 정원도와 分景式 정원도의 전통을 따르면서 정교한 필선과 고운 채색을 사용한 사실적인 묘사가 특징이다. 원강은 정원 주변의 산수경관과 지리적 정보를 폭넓게 담아내는 한편 東園의 전체 배치와 세부 구성요소까지 치밀하게 묘사했다. 왕운은 산수와 건축물이 조화를 이루는 화면을 추구했으며, 당시 유행한 行樂圖式 초상화의 요소를 끌어들여 인물에 초상적인 성격을 부여했다.
喬國禎이 의뢰한 ≪동원도≫는 그림을 매개로 명망있는 관료문인에게 園林記를 청탁하고 이러한 記文이 다시 정원의 명성을 높이는 과정을 잘 보여준다. 또한 鄭玉珩이 주문한 ≪휴원도≫가 초상적 성격을 띠는 것과 鄭慶祜가 題名과 그림, 記文을 모아 書畵合壁으로 장황한 것은 휴원으로 대표되는 가문의 명성을 시각물로 대신하고자 한 의지로 해석된다.
≪동원도≫와 ≪휴원도≫는 산서와 휘주 출신 염상의 회화적 취향과 관련해서도 주목된다. 휘주 출신 염상들은 안휘파와 석도의 작품을 선호했는데, 長齡 鄭氏 집안에서 왕운에게 작품을 의뢰한 것은 이들의 회화 취향이 폭넓었음을 말해준다. 또한 원강은 양주 시기부터 산서 출신 염상과 직접적 관련이 있었으며, 원강을 비롯한 직업화가들의 화풍이 이들에게 선호되었음을 짐작케 한다. 喬國禎은 산서 염상 賀君召, 陝西 염상 員果堂의 사례와 함께 그동안 조명되지 못했던 山陝 출신 염상들의 문화예술 활동을 볼 수 있는 점에서 의의가 크다.

영어초록

This dissertation examines the commission, production, and painterly expressions of The East Garden and The Garden of Repose by professional painters Yuan Jiang and Wang Yun during the Kangxi era. These two works are apt illustrations of the state of early Qing garden painting and the Yangzhou art establishment prior to the emergence of the Eight Eccentrics of Yangzhou(also known as the Yangzhou School of Painting). The two works also permit a more nuanced understanding of the cultural and artistic activities under taken by Shanxi and Huizhou salt merchants in Yangzhou.
The East Garden and The Garden of Repose respectively follow the traditions of the panorama and the compartmentalized view, but both are marked by a realistic approach to representation in their utilization of precise lines and refined colors. Yuan Jiang, while faithfully rendering the topographic character of the East Garden by broadly presenting the garden’s surrounding landscape and geographic information, also emphasized the extensive space of the garden by meticulously depicting details of the over all layout and individual elements within. Wang Yun, by contrast, chose only the best views where architecture and landscape could be seen in perfect harmony and painted them as twelve scenes of different seasons and times. Wang also incorporated into his work an element of portraiture from the genre of leisure scenes then in vogue and imbued each human figure with a portrait-like quality.
What commands special attention in the circumstance of The East Garden’s production is that Qiao Guozhen, who commissioned the painting, later sent it to Wang Shizhen and Song Luo, both former officials of Yangzhou, to receive commemorative inscriptions. This clearly shows how the painting, are presentation of an actual garden, served to invite remarks by government official and elevated the reputation of the place in the process. Furthermore, the portrait-like aspect of The Garden of Repose, commissioned by Zheng Yuheng, and the efforts of his son, Zheng Qinghu, to collect various autographs, inscriptions, and paintings and strategically merge them into the work call for an interpretation of The Garden of Repose as a pictorial embodiment of the Zheng clan’s stature, exemplified by the garden.
The East Garden and The Garden of Repose also tell us much about the taste of Shanxi and Huizhou salt merchants in the realm of painting. Huizhou merchants and literati-officials who dominated Yangzhou’s cultural scene during the Kangxi era ordinarily favored Anhui School painters and Shitao, but the fact that the Zheng clan of Changling, which represented the Huizhou salt merchants’ community, commissioned Wang Yun to produce a work shows that their taste in painting was in fact very broad. Moreover, Yuan Jiang enjoyed direct connections with Shanxi salt merchants during his time in Yangzhou, before he began his activities in Shanxi; it suggests that the style of professional painters such as Yuan Jiang was in favor among Shanxi salt merchants of this time. Together with the patronage of Yuan Yao by the Shanxi salt merchant He Junzhao, and that of Hua Yan by the Shaanxi salt merchant Yuan Guotang, the case of Qiao Guozheng’s commissioning of The East Garden is significant in highlighting previously overlooked cultural and artistic pursuits of salt merchants from the broader Shanxi and Shaanxi region.

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