安岐와 王翬의 교류를 통해 본 清初 北方 商人의 書畫收藏 취미와 행위 (Collecting Paintings and Calligraphy among Northern Merchants during the Early Qing Dynasty Observed through Exchanges between An Qi and Wang Hui)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 288권 / 288호 / 181 ~ 213페이지
· 저자명 : 오영민

초록

본 연구는 미국화교 수장가 翁萬戈 소장 <安麓村小像>과 상관된 자료를 고증하고 이것을 기점으로 淸初 收藏家 安岐에 대한 새로운 시각을 제시하고자 한 것이다. 현재까지의 선행연구에서는 『墨緣彙觀』의 관점에서 안기와 그의 서화수장에 관해 논의해 왔으므로 안기가 수장한 서화들은『墨緣彙觀』중에 기록된 서화작품과 동일하다는 국한된 범위에서 인식되었다. 그리하여 본문에서는 <安麓村小像>에 대한 연구를 통해 『墨緣彙觀』이외 지금까지 등한시 되었던 안기 서화 수장의 또다른 일면, 즉 안기가 동시대인과 교류하고, 동시대 명가의 서화작품을 위탁·후원·수장했던 실태등을 파악하여 안기에 대한 새로운 시각을 전개하고자 하였다.
본문은 <安麓村小像>의 창작배경과 收藏 상황을 고증하고, 이를 전제로 우선 안기의 상인 신분과 王翬의 문인과 직업화가의 중립적 신분을 통해 이들이 왕래하는 과정에서 상호 어떠한 영향을 미쳤는지를 알아보고, 이들의 교유관계에서 안기는 직접적으로 왕휘에게 회화작품을 위탁·요구했을 뿐만 아니라 왕휘 본인 및 蔡琦와 같은 간접 경로를 통해 왕휘 작품을 수장했음을 제시했다.
다음으로 天津에 실존했던 안기의 개인 園林인 ‘沽水草堂’과 <安麓村小像>간의 관계를 통해 상인이 선동한 淸初 園林文化가 어떻게 산수·인물화의 새로운 형식인 ‘山水肖像畵’의 출현과 발전을자극했는지를 설명했다. 아울러 이런 산수·인물화의 새로운 형식이 청초 북방 상인의 ‘소유권논리’ 에 부합되었음을 지적했다.
마지막으로 淸初 정치·경제 중심이 북방으로 이동함에 따라 북방상인은 새롭게 부상하는 중요 서화 수장집단으로써 후원·위탁·수장 행위를 통해 회화의 새로운 형식과 풍격의 출현에 영향을 미쳤을 뿐만 아니라 지리 공간상에서 ‘南畫北渡’의 새로운 국면을 자아냈고 이로 인해 최종적으로 중국 회화사의 형태를 철저히 개변시켰음을 논의하였다.

영어초록

This paper aims to conduct a historical study of materials related to Portrait of An Qi in His Garden (安麓村小像), which is in the collection of Weng Wango (翁萬戈), a Chinese collector in the United States. Based on its findings, this study will suggest a new perspective on An Qi (安岐), a famous collector of the early Qing dynasty. Previous studies discussed An Qi and his collection of paintings and calligraphy based on his book Moyuan huiguan (墨緣彙觀), an annotated catalogue of the paintings or calligraphy he had seen or possessed, and therefore they tended to present a limited perception that the works collected by An Qi only included those recorded in the catalogue. However, this paper aims to further examine Portrait of An Qi in His Garden in an effort to discover a new viewpoint towards understanding An Qi by highlighting a different aspect about his collection-that is, how the art collector built relationships with his contemporaries, and how he commissioned, sponsored and collected paintings and calligraphic works of famous artists of the era.
Firstly, this paper studied the background behind the creation and collection of Portrait of An Qi in His Garden. Based on An Qi’s status as a merchant and the dualistic status of Wang Hui (王翬) as both a scholar and a professional painter, this paper focused upon the mutual influences between the two men. Furthermore, this paper suggests that their friendship resulted in An Qi directly commissioning and requesting Wang Hui to produce specific paintings, and also that An Qi collected Wang Hui’s paintings both from the painter himself and from indirect channels such as Cai Qi (蔡琦).
Secondly, this paper analyzes the relations between Portrait of An Qi in His Garden and Gu Shui Tsao Tang (沽水草堂), An Qi’s private garden located in Tianjin, in order to explain how the culture of gardens during the early Qing dynasty developed under the leadership of the merchant classes and spurred the emergence and development of landscape-portrait paintings, a new genre derived from landscape and portrait paintings. In addition, this study highlights the notion that this new genre of paintings was commensurate with the principle of ownership as advocated by northern merchants of early Qing dynasty.
Finally, as the political and economic center of the early Qing dynasty gradually moved toward the northern regions, merchants of northern China influenced the emergence of new forms and styles in paintings by sponsoring, commissioning and collecting works as a newly emerging and influential group of art collectors. This, in turn, created a new geographical trend of “The Transfer of Southern Paints to North,” (南畫北渡) ultimately and completely transforming the history of Chinese paintings.

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