강희안 필 <고사관수도>의 작자 및 연대 문제 (The Authorship and Date of Kang Hǔi-an’s Lofty Scholar Contemplating Water Revisited)

서지정보

· 발행기관 : 미술사와 시각문화학회
· 수록지 정보 : 미술사와 시각문화 / 8호 / 128 ~ 151페이지
· 저자명 : 장진성

초록

Kang Hǔi-an’s (1419-1464) Lofty Scholar Contemplating Water, now in
the National Museum of Korea, is considered the earliest extant painting in
the manner of the Zhe school. It is also a fine example showing the difficulty
of defining the origins of the Korean Zhe school. Kang Hǔi-an is one
of the pioneers of the Korean Zhe school introducing a new landscape
style to the Korean art world when An Kyǒn’s Li-Guo-inspired landscape
manner was predominant. He was a literati painter, active during the reign
of King Sejong, who excelled in painting, calligraphy, and poetry. This
painting depicts a scholar-recluse crouched upon a rock and watching
water for contemplation, set against a large cliff. The water reeds at the
bottom of the painting and the bushes trailing from the cliff in the background
add a lyrical dimension to the landscape.
In composition, Lofty Scholar Contemplating Water is extremely close
to Zhang Lu’s Fisherman Under a Cliff, in the Go¯koku-ji, Japan, in terms
of the placement of a figure under an overhanging large cliff with bushes
looming out. Although the broad and sweeping brushwork, the marked
contrasts between light and dark for the definition of sharp-edged rock
surfaces, the immediate sense of time and space, and the tightly focused
composition found in Lofty Scholar Contemplating Water are characteristic
of Zhang Lu’s pictorial manner, the painting predates the Chinese master’s
work. In other words, that Zhang Lu was born after Kang Huˇi-an makes it
difficult to date the painting. It must be noted, however, that the bold and
The Authorship and Date of Kang Huˇ i-an’s Lofty Scholar Contemplating
Water Revisited broad brushwork, the deep ink tonalities, the theme of a lone scholar finding
spiritual retreat in nature, and the juxtaposition of strong verticals at
one side (the cliff) and horizontals on the other (water) in composition
show the strong influence of the Southern Song Academy styles exemplified
by such masters as Ma Yuan as well as the main interpreters of their
style in the Zhe school. The introspective mood and lyrical atmosphere,
the presence of a scholar, leaning on a boulder by a stream under a sheer
cliff with branches and foliage by a stream, gazing at the water to seek
enlightenment through meditation, and the enclosed and intimate one-corner
composition strongly recall the stylistic hallmarks of Ma Yuan and his
followers. It is possible that the composition of Lofty Scholar Contemplating
Water was derived from that of paintings such as Water-Moon Avalokiteshvara
(undated), formerly attributed to Muqi. The pose of the
scholar-recluse lying upon a rock and meditating on water closely resembles
that of the bodhisattva Avalokiteshvara (Chinese: Guanyin) leaning
against a rock below a cliff with a waterfall, supporting his head on his
hand. This is what has been talked of the stylistic origins of Lofty Scholar
Contemplating Water. What is of great interest to me is that the vine-hung
branches of a tree growing from the cliff is, as mentioned earlier, one of
the recurring motifs found in Zhang Lu’s paintings. The spontaneous,
swift-running, and slapdash brushwork is certainly close to Zhang Lu’s.
Another interesting stylistic feature of Lofty Scholar Contemplating
Water is the treatment of reeds and small rocks. The motif of the combination
of finely drawn reeds and thickly contoured and richly ink-washed
rocks is only found in Jiang Song’s paintings such as Reading on an
Autumn River in the Palace Museum, Beijing, and Boating in Autumn or
Landscape with Fishing Boat in a private collection, Kyoto, Japan. Jiang
Song was born and lived in the city of Nanjing. He loved to paint with a
sooty, deep black ink that his contemporaries called“burnt”or“roasted”
ink, and he applied his ink wash with infinite nuance and subtlety. His
paintings show his interest in existential images of rivers and human lives.
With the wet, bold, and inventive use of ink wash, Jiang achieve a beauti-
150
fully lyrical quality. The poetic, serene mood and the use of burnt or roasted
ink in Lofty Scholar Contemplating Water are all characteristic of Jiang
Song’s stylistic hallmarks. In this respect, Lofty Scholar Contemplating
Water has to be dated to sometime between 1530 and 1550, given that
Jiang Song was active in Nanjing sometime around or shortly after 1500.
And thus Lofty Scholar Contemplating Water is the most representative
painting highlighting the introduction of Jiang’s style in mid-sixteenthcentury
Korea.

영어초록

Kang Hǔi-an’s (1419-1464) Lofty Scholar Contemplating Water, now in
the National Museum of Korea, is considered the earliest extant painting in
the manner of the Zhe school. It is also a fine example showing the difficulty
of defining the origins of the Korean Zhe school. Kang Hǔi-an is one
of the pioneers of the Korean Zhe school introducing a new landscape
style to the Korean art world when An Kyǒn’s Li-Guo-inspired landscape
manner was predominant. He was a literati painter, active during the reign
of King Sejong, who excelled in painting, calligraphy, and poetry. This
painting depicts a scholar-recluse crouched upon a rock and watching
water for contemplation, set against a large cliff. The water reeds at the
bottom of the painting and the bushes trailing from the cliff in the background
add a lyrical dimension to the landscape.
In composition, Lofty Scholar Contemplating Water is extremely close
to Zhang Lu’s Fisherman Under a Cliff, in the Go¯koku-ji, Japan, in terms
of the placement of a figure under an overhanging large cliff with bushes
looming out. Although the broad and sweeping brushwork, the marked
contrasts between light and dark for the definition of sharp-edged rock
surfaces, the immediate sense of time and space, and the tightly focused
composition found in Lofty Scholar Contemplating Water are characteristic
of Zhang Lu’s pictorial manner, the painting predates the Chinese master’s
work. In other words, that Zhang Lu was born after Kang Huˇi-an makes it
difficult to date the painting. It must be noted, however, that the bold and
The Authorship and Date of Kang Huˇ i-an’s Lofty Scholar Contemplating
Water Revisited broad brushwork, the deep ink tonalities, the theme of a lone scholar finding
spiritual retreat in nature, and the juxtaposition of strong verticals at
one side (the cliff) and horizontals on the other (water) in composition
show the strong influence of the Southern Song Academy styles exemplified
by such masters as Ma Yuan as well as the main interpreters of their
style in the Zhe school. The introspective mood and lyrical atmosphere,
the presence of a scholar, leaning on a boulder by a stream under a sheer
cliff with branches and foliage by a stream, gazing at the water to seek
enlightenment through meditation, and the enclosed and intimate one-corner
composition strongly recall the stylistic hallmarks of Ma Yuan and his
followers. It is possible that the composition of Lofty Scholar Contemplating
Water was derived from that of paintings such as Water-Moon Avalokiteshvara
(undated), formerly attributed to Muqi. The pose of the
scholar-recluse lying upon a rock and meditating on water closely resembles
that of the bodhisattva Avalokiteshvara (Chinese: Guanyin) leaning
against a rock below a cliff with a waterfall, supporting his head on his
hand. This is what has been talked of the stylistic origins of Lofty Scholar
Contemplating Water. What is of great interest to me is that the vine-hung
branches of a tree growing from the cliff is, as mentioned earlier, one of
the recurring motifs found in Zhang Lu’s paintings. The spontaneous,
swift-running, and slapdash brushwork is certainly close to Zhang Lu’s.
Another interesting stylistic feature of Lofty Scholar Contemplating
Water is the treatment of reeds and small rocks. The motif of the combination
of finely drawn reeds and thickly contoured and richly ink-washed
rocks is only found in Jiang Song’s paintings such as Reading on an
Autumn River in the Palace Museum, Beijing, and Boating in Autumn or
Landscape with Fishing Boat in a private collection, Kyoto, Japan. Jiang
Song was born and lived in the city of Nanjing. He loved to paint with a
sooty, deep black ink that his contemporaries called“burnt”or“roasted”
ink, and he applied his ink wash with infinite nuance and subtlety. His
paintings show his interest in existential images of rivers and human lives.
With the wet, bold, and inventive use of ink wash, Jiang achieve a beauti-
150
fully lyrical quality. The poetic, serene mood and the use of burnt or roasted
ink in Lofty Scholar Contemplating Water are all characteristic of Jiang
Song’s stylistic hallmarks. In this respect, Lofty Scholar Contemplating
Water has to be dated to sometime between 1530 and 1550, given that
Jiang Song was active in Nanjing sometime around or shortly after 1500.
And thus Lofty Scholar Contemplating Water is the most representative
painting highlighting the introduction of Jiang’s style in mid-sixteenthcentury
Korea.

참고자료

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