시간의 틈새: 16-18세기 雪景의 주제적 단층과 王維 (Spanning the Chasm of Time: Wang Wei and the Thematic Phases of Snow-Scenery Paintings from the Sixteenth to Eighteenth Centuries)

서지정보

· 발행기관 : 사단법인 한국문학과예술연구소
· 수록지 정보 : 한국문학과 예술 / 21호 / 121 ~ 158페이지
· 저자명 : 박효은

초록

본고는 명․청대 중국과 조선시대 한국에서 그려진 설경화의 공통되는 주제적 단층을 검토해 이전의 회화전통을 의식한 復古主義와 唐代 畵家 王維와의 연합이 16-18세기 설경화 제작의 주된 배경이었음을 밝힌 것이다.
19세기 화첩인 《畵苑別集》에는 조선 초기와 중기, 후기의 설경화 5폭이 수록되어 있는데, 각각은 경관재현적 범주, 서사적 범주, 방고적 범주를 포괄하는 주제적 단층에 속한다. 당 이후 수묵화 전개의 흐름을 의식한 復古主義는 그 단층의 분화에 기여했고, 16세기 강남에서 부상해 17-18세기 동아시아 전체로 확대된 사회문화적 조류는 한․중․일 모두에 그 단층이 공유되는데 기여했다. 그 결과 주제․화풍․화법의 기원 모두 중국에 있던 《화원별집》 내 설경화 5폭이 조선화가에 의해 그려져 한국회화 전통의 일부가 되었다.
한편 그런 설경화 각 폭의 주제와 의미, 표현적 기원에서 발견되는 ‘당대 화가 왕유’는 원․명․청대 설경 표현의 기법․도상․방식의 비약적 발전을 자극했고, 인간의 사고와 의지와 감정을 표출하는 장으로 회화의 표현가능성을 확장시키는데 기여했다. 그러한 왕유 인식이 역사적 사실이기보다 蘇軾을 중심으로 한 북송 문인이나 명대 서위․문징명․동기창․석도 같은 이들의 詩的․禪的 발상과 文人的 理想 추구의 결과인 점, 그 창의적인 회화 주변에 상인집단, 특히 휘상이 자리잡고 있는 점은 매우 흥미로운 현상이다.
본고는 회화작품이 기후나 환경의 반영이기보다 정치․경제와 같은 인간활동에 의해 조성된 사회문화적 시간의 구조에서 파생된 인문학적 산물이라 보았다. 그 구조는 대항해시대 유럽-동아시아의 도시 간 연결과 도시문화의 상호교류가 회화에 미친 작용력을 설명하거나 겨울이 배경인 회화를 애호한 개인의 성향을 부각시킬 이론적 근거가 될 수 있다. 그것은 다양한 접근과 사례 분석으로 신중히 탐색되고 검토돼야 할 상이한 단층의 합인 것이다.

영어초록

This paper examines the origins and background of the snow-scenery paintings of Ming-Qing China and Joseon Korea through their shared thematic phases, eventually identifying that the production of these winter scenes can be attributed to a revival of earlier paintings and to their association with the Tang painter Wang Wei (王維, 699­759).
Among the works in the nineteenth-century Korean painting album Hwa-won Byeol-jip(畵苑別集), there are five winter landscapes that date to the early, mid-, and late Joseon periods. Each of these deals with winter scenery as part of four seasons, literary narratives concerning Meng Haoran (孟浩然, 689-740), or copies of Chinese old masters’ brushwork (倣作). They reveal the existence of thematic categories including scenery representation, narrative, and imitation of past, which prevailed at different times and later form common thematic phases in East Asian painting starting in the seventeenth century. The trend of revivalism in Ming painting and the Ming art market made a considerable contribution to the thematic phases as they developed and diversified from the Five Dynasties and Northern and Southern Song periods. In particular, the sociocultural current based on commercial capitalism that promulgated throughout East Asia during the seventeenth and eighteenth centuries following its emergence in the Jiangnan areas in the sixteenth century resulted in the diffusion of these thematic phases through Korea, China, and Japan. As one element of the eventual results, Joseon painters were able to create these five winter landscapes in Hwa-won Byeol-jip that represent a facet of the traditions of Korean painting.
Another noteworthy point is that the influence of the Tang painter Wang Wei can be found running through these different periods. Painters from succeeding generations venerated Wang Wei as the founder of snowy landscape painting, as a poet who was a friend to Meng Haoran and interested in practicing Zen, as a virtuoso of winter landscapes, and as an exemplary practitioner of the concept of unifying poetry and painting. This appreciation of Wang Wei not only brought about major technical, iconographical, and stylistic advances in the depiction of snow scenery in Chinese paintings, but also broadened the representability of painting as a means to express an artist’s thoughts, volition, and emotions. It is worthy of note that such recognition of Wang Wei arose not from historic fact, but from a preference for the poetic Zen contemplations of Northern Song literati, particularly Su Shi (蘇軾, 1037–1101). Ming and Qing painters including Xu Wei (徐渭, 1521–1593), Wen Zhengming (文徵明, 1470–1559), Dong Qichang (董其昌, 1555–1636), and Shitao (石濤, 1642–1707) pursued the literary ideal of Northern Song criticism in order to emulate Wang Wei in their snow scenery. What is more, around these creative painters were situated merchant groups, particularly Huizhou merchants, which may have supported their art in various ways.
This paper regards paintings as intellectual products conceived within the structure of a social and cultural time created by the political and economic activities of human beings rather than as a reflection of the actual climate or environment. This structure could provide theoretical evidence to explain the effects of the connections and cultural exchanges between cities of Europe and East Asia during the Age of Exploration on painting or to emphasize the predilection of specific individuals toward winter scenery paintings. It is indeed an accretion of different phases that needs to be thoroughly scrutinized and examined through various approaches and case analyses.

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