朝鮮時代 關東八景圖의 硏究 (Eight Views of Gwandong: A Thematic Exploration of Joseon Landscape Paintings)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 266권 / 266호 / 157 ~ 188페이지
· 저자명 : 이보라

초록

강원도 해안가에 펼쳐진 관동 지역의 명승지는 예로부터 많은 시인문객들의 사랑을 받아 기행시와가사, 유람기 등에서 널리 읊어지고 그림으로 그려졌다. 이 중 關東八景은 대관령의 동쪽, 동해안지역을 따라 위치해 있는 여덟 곳의 명승지로 通川의 叢石亭, 高城의 三日浦, 杆城의 淸澗亭, 襄陽의 洛山寺, 江陵의 鏡浦臺, 三陟의 竹西樓, 蔚珍의 望洋亭, 平海의 越松亭을 가리키는 명칭이다. 주목할 점은 관동팔경이 문학에서 형성된 후 동일한 형태와 구성으로 회화에서도 오랫동안 정형화되었다는 것이다. 반면 谷의 侍中臺와 高城의 海山亭이 더해진 십경도 문학에서는 그 예를 찾아볼수 없으며 18세기에 이르러 회화에서만 나타난다.
관동팔경도는 18세기 전통화단에서 가장 번성하였다. 17세기에 관동팔경이 정형화된 후 중국의 팔경도들이 그려진 화적과 산수판화집, 인문지리지 등이 유입되는 중앙화단의 영향과 더불어 전국 각지의 팔경도·십경도의 제작이 늘어났다. 18세기에는 왕실이나 관리, 문인 등 지배계층을 중심으로 제작과 감상 활동이 활발하게 일어났다. 왕실의 경우 정조가 진상된 관동팔경도를 감상하였으며, 화원화가에 의해 그려져 왕실행사에 이용되기도 하였다. 관리와 문인의 경우에도 정선과 교유하거나 그에게 영향을 받은 노론계 문인들 뿐만 아니라 김상성, 박사해, 강재항을 비롯한 소론계문인들, 허필 등 소북계 인사들에 이르기까지 당파를 초월하여 관동팔경도를 즐겼다.
특히 정선은 관동팔경도에 많은 영향을 끼쳤다. 그는 팔경에 많은 관심을 가지고 있었는데 관동팔경도를 그릴 때 전통적인 구도를 변형하거나 소상팔경도의 구도를 관동팔경도에 차용하여 새로운 구도와 모티프를 만들었다. 이러한 정선의 영향은 허필, 박사해 등의 문인화풍에도 나타나지만 분명한 사실은 이들은 정선의 영향에 안주하기보다 이를 벗어나고자 노력하였다는 것이다. 이들화풍은 시의도적인 성격을 지니기도 하여『新增東國輿地勝覽』의 제영시가 허필과 이방운의 그림에서 그 영향을 받았음을 알 수 있다. 18세기 후반 김홍도는 정조의 명으로 금강산과 관동 일대를 사생하였다. 김홍도로 인하여 이전에 그려지지 않았던 지역들이 새롭게 그려지며 각광받게 되었고,이로 인해 관동팔경도는 점차 쇠퇴하는 양상이 나타난다.
김정희 일파의 남종화풍이 유행하는 19세기 전통화단에서는 진경산수화가 쇠퇴하는 양상이나타난다. 일부 제작되던 그림들도 금강산과 그밖에 다양한 관동 일대 지역을 그린 작품들이었으며관동팔경만을 그린 작품들은 이후 거의 나타나지 않는다. 그러나 민간에서는 관동팔경도가 서민들의 장식화인 민화로 널리 저변화되어 유행하였으며 근대까지 지속되었다.

영어초록

Korean poets and literati were long fond of the soaring sea cliffs and pine groves in coastal towns of Gangwon-do. These scenic spots of eastern Korea were widely talked about in poems and travel literature, and were depicted in paintings. The so-called“Eight Views of Gwandong,”designating eight scenic sites lying east of Daegwallyeong Pass, were particularly prized in the making of topographical landscapes. They included Chongseokjeong of Tongcheon, Samilpo of Goseong, Cheonganjeong of Ganseong, Naksansa of Yangyang, Gyeongpodae of Gangneung,Jukseoru of Samcheok, Mangyangjeong of Uljin, and Wolsongjeong of Pyeonghae. One interesting fact about these places is that once they became established literary themes, they acquired a unity as a body of formalized themes and retained this unity for hundreds of years.
Meanwhile, the Ten Views of Gwandong, an extended list of Gangwon-do’s scenic spots, adding Sijungdae of Heupgok and Haesanjeong of Goseong to Eight Views of Gwandong, were rarely mentioned in literature and became landscape themes only once into the 18th century.
Eight Views of Gwandong were most popular as landscape themes in the traditional painting scene of the 18th century. After the stylistic formalization of Eight Views of Gwandong during the 17th century, there was a sharp increase in the production of paintings on this topic, as well as on the Ten Views of Gwandong, partly under the influence of Chinese painting albums and woodblock prints depicting the images of Eight Views of China, brought to Korea around this time. Once into the 18th century, paintings on these landscape themes were particularly actively produced for the enjoyment of the royal house members, government officials, and other members of Joseon’s ruling class. King Jeong-Jo is said to have once enjoyed a series of landscape paintings on Eight Views of Gwandong, offered to him as a gift, and court painters frequently made paintings on the same theme intended to be displayed for royal court events. These landscapes were equally popular among government officials and members of Joseon’s literati.
The predilection for paintings on this theme was not limited to literati members affiliated with the Noron party who exchanged with Jeong Seon or were influenced by him, but was shared across the partisan divided. Men of letters affiliated with the Soron party, such as Kim Sang-seong, Park Sa-hae and Kang Jae-hang, and Sobuk personalities including the likes of Heo Pil are also known to have been fond of landscapes on this theme.
Jeong Seon was a painter who had a strong influence on the development of the theme ‘Eight Views of Gwandong.’Known for his keen interest in the eight landscape scene genre,Jeong Seon, when painting Eight Views of Gwandong, made variations on traditional compositions and at times drew inspirations from Eight Views of the Xiao and Xiang Rivers to create new compositions and motifs. Jeong Seon’s influence is largely felt in landscapes by such literati painters as Heo Pil and Park Sa-hae, but these people also attempted to go beyond Jeong Seon to fashion their own styles. Landscape works by Heo and Park were also close in style and atmosphere to the so-called poetic landscape genre, characterized by references to well-known poems. Many jeyeong poems (poems produced on a common motif during a poetic meeting)included in Sinjeung Dongguk Yeoji Seungnam (Revised and Expanded Geography of Korea), for instance, were directly and indirectly influenced by landscape paintings by Heo Pil and Lee Bangun.
Toward the late 18th century, Kim Hong-do went on a sketching trip, on the order of King Jeong-Jo, to Geumgangsan Mountain and its surrounding areas in the Gwandong region. Various new sites of Gwandong, previously never depicted in landscape paintings, came to be known to the artistic circles of Joseon through Kim Hong-do’s works, eliciting enthusiastic responses. This broadening of thematic horizons in Joseon landscape painting led to a gradual decline in the popularity of Eight Views of Gwandong.
In the mainstream Joseon painting scene of the 19th century, where the dominant trend was one inspired by the Southern School of Chinese painting, promoted by Kim Jeong-hee and his followers, the influence of true-view landscapes slowly ebbed. Even as there was continuous production, albeit in modest quantities, of landscapes of the Gwandong region, most of them were images of the Geumgangsan Mountains and places other than the sites making up Eight Views of Gwandong. Whilst Eight Views of Gwandong eventually fell out of currency almost completely, among literati and professional painters, this theme acquired a new life, when it was adopted in decorative folk paintings, and enjoyed a longevity that lasted until the turn of the 19th century.

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