王이 그린 蘭・竹의 의미와 기능 ―壬亂以前을 대상으로 (King’s Painting of Orchid and Bamboo in the Early Chosŏn)

서지정보

· 발행기관 : 성균관대학교 대동문화연구원
· 수록지 정보 : 대동문화연구 / 76호 / 237 ~ 266페이지
· 저자명 : 고연희

초록

조선시대 전반기 王이 그린 그림을 보면, 世宗, 成宗, 仁宗, 宣祖가 그린 墨蘭과墨竹으로 드러난다. 御筆로 그려진 그림은 그 자체로 왕실의 공덕과 번영을 뜻하였고, 대개 王이 臣에게 하사함으로써 君의 恩德과 臣의 忠誠의 관계를 표상하였고나아가 충성의 행위를 실행시켰던 것으로 해석되고 있다.
王의 화제로 墨蘭과 墨竹이 채택된 배경에는 元代 皇室의 문화정책의 영향이 컸다. 元은 이민족지배층이었기에 중화의 문화정체성 및 유가적 충효의 질서구축이절실하였고 墨竹에 이러한 의미를 부여하여 제작을 도왔다. 또한 元정부는, 元을 거부하며 宋을 향한 충성을 표현한 墨蘭을 충성의 상징이란 점에서 적극적으로 취하였다. 元나라 황실의 蘭・竹 회화문화 속 政治性이 조선왕실로 수용되었다. 조선시대 전반기 왕이 그린 묵죽은 元代 및 明代에 입수된 이미지를 차용하였고 특별히새로 창안된 이미지는 아니었다. 세종과 성종의 그림은 난죽을 왕의 그림화제로 정립시키는 역할을 하였다면, 인종과 선조가 그린 묵죽은 그 정치적 효능이 후대에 이르도록 널리 인정되었다.

영어초록

Several kings in the early Chosŏn period painted orchid and/or bamboo,using literati style of ink and brush, usually for giving to their faithful men.
This study focuses on the political meaning, functions, and the actual power of these kings’ paintings, and also investigates the process in which the two botanical themes, orchid and bamboo, became the king’s political painting.
Images of orchid and bamboo made by Chosŏn Kings, namely Sejong,Sŏngjong, Injong and Sŏnjo, were extolled as monarchic beneficialness which have real power to arouse men’s allegiance to the dynasty. A scholar,Kim Inhu, who received Injong’s bamboo painting performed a sincere service on the Injong’s deathday every year. A monk, Hujŏng, for whom Sŏnjo painted a bamboo painting showed his great loyalty at the risk of his life when Japanese invaded Korean peninsular in the late sixteenth century.
This usage of bamboo and orchid image by the kings of the early Chosŏn period was deeply related to the cultural policy of the Mongol government,the Yuan dynasty. Bamboo painting during the Song dynasty was regarded as noble character cultivated often by Zen Buddhism, but the seemingly same painting under the Mongol empire was subtly changed into the imagery embodied by the virtue of social order in Confucian sense. The Yuan, non-chinese government, used the authentic culture of Bamboo painting, in need to enhance the social system of order and loyalty of people in China. The changed meaning of bamboo by the Yuan flowed into the late Goryŏ. In doing so, a Goryŏ government office installed a bamboo screen with a public notice informing that office workers ought to watch the bamboo screen for their righteous behaviors like bamboo image. The Yuan government also employed orchid painting to inculcate people into patriotism. Although orchid paintings originally appeared as a strong symbol for loyalty to the Song but against the Mongol invader, the Yuan took the symbol of the loyal spirit of the painting. The last emperor of the Yuan kept an orchid painting by a famous painter who obstinately resisted the Yuan,and gave the painting to his man expressing gratitude for the man’s loyalty to the emperor. This man came to Korea with the orchid painting, which imparted the emperor’s way of using orchid painting to Korean by the late Goryŏ. Yuan emperor’s political way of using the image of orchid and bamboo surely influenced on the Chosŏn Kings.

참고자료

· 없음