<夢遊桃源圖>와 <瑤池宴圖>의 상관성 (Correlation Between and )

서지정보

· 발행기관 : 원광대학교 원불교사상연구원
· 수록지 정보 : 원불교사상과 종교문화 / 75호 / 343 ~ 384페이지
· 저자명 : 정동화

초록

한국의 회화사에서 다양한 화풍이 성립되고 문화의 자생력이 생긴 시기는 조선시대라 할 수 있다. 조선초기(1392-약1550) 산수화의 주된 화풍은 고려에서 이미 전해졌을 중국의 북종화풍 계통이 화단을 장식하였고, 이를 바탕으로 안 견을 주축으로 하는 안견파화풍이 새롭게 형성되었다. 반면 조선후기(약1700-약 1850)에는 절파화풍이 쇠퇴하고 남종화풍을 토대로 한국적 산수화풍인 진경산 수화와 풍속화가 회화사상 성과를 이루었으며, 중국으로부터 소개된 서양화 법과 뛰어난 한국적 미의식, 색채감각을 반영한 궁중장식화가 제작되는 양식 적 변화를 보이는 시기였다. 이러한 두 시기를 대표할 수 있는 작품으로는 조 선전기의 <몽유도원도>와 조선후기의 경기도박물관 소장 <요지연도>를 꼽을 수 있다. 이 두 작품은 산수를 배경으로 인간과 자연의 교감을 반영한 그림으 로 기운생동한 산수와 괴석, 폭포 등이 공통적으로 등장하는데, 이는 북종화의 공통된 요소일 뿐만 아니라, 노장(老莊)의 자연관을 토대로 하고 있으며 속세를 벗어난 유토피아적인 사상으로서의 도원(桃源)과도 밀접한 관련성이 있다고 할 수 있다. 그러므로 <몽유도원도>와 경기도박물관<요지연도>는 장르면에서 각 산수화와 궁중장식화로 나누어지고, 시기적으로는 조선 전·후기의 차이 점이 있지만, 사상·화풍·화사 및 소재면에서 많은 상관성을 띠고 있다. 따라 서 본고는 이러한 상관성을 밝혀서 조선회화사의 내면에 흐르는 도가·도교적인 미의식의 흐름을 파악하고자 하였다.

영어초록

It was the period of Joseon that the various styles of painting were completed and the natural vitality of culture was formed in the Korean history of pictures. Especially in the early time of Joseon(1392-about 1550), the major style of landscape followed the Chinese painting of the Northern School that had been already transmitted in Koryeo era. The style of Chinese painting of the Northern School was the mainstream in then current painting circles. On the basis of this, the style of Ahngyeon's School that Ahngyeon(安堅, ?-?) became the main axis was newly formed. While the painting style of Jeolpa declined in the later Joseon(1700-about 1850), the landscape of drawing actual scene which was the style of landscape Chinese painting of the Southern School. And the decorating pictures for Royal Court were made being reflected an outstanding aesthetic sense of Korean's own and the color sensation with the style of western painting which had been introduced from China. Like this, the history of paintings was unfolded showing the change of style. I can say <Mongyudowondo> and <Yojiyeondo> were representative of two periods of Joseon Dynasty. <Mongyudowondo> in the early Chosun and <Yojiyeondo> in the later Joseon which is the Gyeonggido Museum's possession are pictures which were reflected the mutual response of human and nature with mountains and waters for a background. The pictures both were commonly expressed the graceful vividness of mountains and waters, oddly-shaped stones, and falls. This point was not the common element of the Chinese painting of the Northern School, but also was based on the natural view of Lao-zi and Zhuang-zi. And it had a close relation to the thought of meditators as well. In conclusion, there were not different points but also lots of correlations between two pictures. In the points of difference, <Mongyudowondo> was a landscape and <Yojiyeondo> was a decorating picture for the Royal Court by genre, and the former was made in the early Joseon and the latter was made in the later Joseon by time. In the correlation, two pictures had the sense of meditators based on Taoism and thought of Zhuang-zi, they had influenced by the Chinese painting of the Northern School, painters were from the training school for painters who played the important role in drawing in the picture. And they also expressed the Utopia in the pictures. Two pictures had lots of correlativity like this. Therefore, in this thesis I tried to clarify the correlativity between two pictures and find the sameness of aesthetic sense running in the inside of history of painting in Joseon.

참고자료

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