東漢時代 회화 표현법의 分化에 관한 연구 - 墓室 壁畵 分析을 中心으로 - (The study on the differentiation of the painting expression way of the Eastern Han dynasty -Focusing on the analysis of mural painting-)

서지정보

· 발행기관 : 한서대학교 동양고전연구소
· 수록지 정보 : 동방학 / 33호 / 321 ~ 369페이지
· 저자명 : 김병모

초록

본 논문은 東漢時代 회화에 나타난 彩色 및 線描 표현법의 分化가 어떠한 양상으로 전개되는지를 검토함으로서 6法論 출현 직전에 형성된 표현법 경계를 분명하게 인식하고자 한 것이다.
동한시대는 西漢時代에 비해 벽화 면적 및 주제가 크게 확대되고 더불어 표현법 분화도 훨씬 다양하고 심화된 양상으로 전개된다. 특히 지방을 중심으로 분화 양상이 두드러지며, 분화 원인으로는 주로 안료 수급 문제가 가장 밀접하게 연관된 것으로 나타난다.
新莽時代에는 채색 위주 표현법이 중심적 지위를 차지하지만 선묘 위주 표현법의 지속적 기반 확대와 더불어 沒骨式 표현법의 초보적 형태가 이미 출현한 것으로 확인된다.
동한 전기에는 선묘 위주 표현법과 몰골식 표현법이 자유자재한 경지로 進化하면서 주요 표현법의 하나로 자리매김 되고, 특히 안료 부족이라는 상황을 인식, 혹은 예상하면서 분화를 진행시키고 있어 분화된 표현법의 조형적 의미를 분명하게 인식한 것으로 파악된다.
동한 후기에는 서예 필법의 회화 필법으로의 도입과 더불어 미구분의 단계로까지 진전되고, 이러한 선묘 위주 표현법의 변화 및 발전 속에서 터취식 채색법을 출현시키고 있다. 몰골법 역시 보다 넓은 표현 영역으로 확장되고 볼륨이 크게 강조된 선묘 형태의 몰골법까지 출현시키면서 표현법의 개념과 영역을 새로운 지점으로 진입시키고 있다. 나아가 안료 수급이 충분치 않은 상황에 부응하여 묵법을 출현시키고 있어 묵법의 기원과 출현 배경에 대한 인식을 새롭게 하고 있다.

영어초록

About 200 years of Eastern Han dynasty was the period that showed meaningful changes and development enough to present 6 principles of painting during Wei-jin Period.
Focusing on this, this study intended to appreciate the border of expression way formed before the advent of 6 principles of painting in a new and apparent way by reviewing how differentiation of the coloring and the line drawing expression ways developed, and what point of expression way's range this differentiation led to.
The result showed that in Eastern Han dynasty, the differentiation of expression way was intensified as mural areas were expanded to local districts, and the size of mural areas with reality themes were also enlarged compared to those in Western Han dynasty. The enlargement of mural size was correlated with differentiation of expression way, and the differentiation was more intensified in the local districts. The backgrounds of the differentiation were closely related to economic power of the owners and the supply of the pigment that was relied on long distance trade.
In Xin(新) dynasty, the differentiation of the line drawing expression way continued from the coloring expression way of Western Han dynasty, and then the establishment was expanded. Furthermore, 'Molgol' way, the way of drawing with ink or paints without contour, which seemed to have differentiated from the line drawing expression way, already appeared even in the elementary form.
In early Eastern Han dynasty, the line drawing expression way and 'Molgol' way were developed into completely free forms, and stabilized as a main expression way even though the importance did not reach the coloring expression way. Especially, the differentiation was developed with awareness or prediction of pigment deficiency, so formative meanings of these differentiated expression ways appeared to be clearly recognized.
In late Eastern Han dynasty, as the establishment of the line drawing expression way was broadly expanded, the technique of calligraphy appeared to be developed into application of the painting writing style or the stage of unclear boundary. As 'Molgol' way was also developed into the form of filling the large space, 'Touch' style molgol way appeared, and then it was developed into Molgol with the line expression way, in which volume was highly emphasized, Therefore, along with the expression way of the technique of calligraphy, the boundary of the concept of expression way was entered into the new range or stage. Moreover, to cope with the situation of insufficient supply of the pigment, India ink expression way, in which paints were replaced by water ink, was applied, so the era provides the chance of new recognition of origin and background of India ink expression way.
The prior studies did not pay attention to the development and changes of the above differentiation of expression way in addition to the background of expression way differentiation and the advent of India ink expression way, but if division and application of expression way in many figures are considered, it can be assumed that old Chinese people's attitude towards the painting expression way already entered into new boundary.
Especially, in Wei-jin Period, Because Western painting expression ways were flowing into Chinese inland called the countries to the west of China, and mutual fusion and transformation were done, specific reviews about development of expression ways and enlargement of recognition formed in Eastern Han dynasty should be highly considered in order to analyze and track the acceptance and the trace of transformation.

참고자료

· 없음