《萬古奇觀帖》과 18세기 전반의 畵員 繪畵 (Man-go-gi-gwan Album and the Painting Style of the Court Painters in the Earlier 18th Century)

서지정보

· 발행기관 : 한국불교미술사학회
· 수록지 정보 : 강좌미술사 / 28호 / 177 ~ 208페이지
· 저자명 : 유미나

초록

이논고는삼성미술관과일본大和文華館소장《萬古奇觀帖》의畵題와繪畵에대한면밀한분석을통해그동안알려지지않았던 18세기전반의 圖畵署畵員의화풍특징을규명하는데그목적이 있다.
《萬古奇觀帖》은 옛詩文과 효자･聖賢･君臣･神仙 등에 관련된故事의 원문과 이에 상응하는 그림을 수록한 書畵合璧帖으로 왕실에서 제작되어 감상되었을 것으로 추정된다. 본 논문에서는삼성미술관소장의《만고기관첩》과일본大和文華館에소장된‘藝苑合珍’이라는표제를지닌 서화첩을 아울러 ‘만고기관첩’이라 칭하고 함께 살펴보았다. 이들 두 서화첩은 본래 각각네책으로이루어졌었으나현재세책씩남아있다.그림은도화서화원한후방･한후량･장득만･ 장계만･양기성･진재해가담당하였고,글씨는大和文華館본의경우조선후기文臣이자善書家 로이름난尹淳이썼다. 이들서화가의활동시기를감안할때제작시기는 1720년대이며삼성미술관소장의《만고기관첩》이먼저제작되고약간의시차를두고大和文華館소장의서화첩이제작된 것으로 보인다.
《만고기관첩》은名詩文을주제로한서화합벽첩인《천고최성첩》,궁중에서屛障혹은帖 冊의형식으로꾸며지던鑑戒圖,君臣圖를수록한《군신도상》,각종고사도,그리고신선도가실린《열선전전》같은다양한화첩혹은화집을선별취합하여제작한방대한규모의서화합벽첩이라할수있다. 이는화원화가가다루었던회화주제의다양한범주를보여준다.
《만고기관첩》중의그림은이전부터반복적으로그려지던화제를다룬것으로그림에따라정형화된 도상이 있었다고 여겨진다. 주로 조선 중기 절파양식의 전통적인 구도법이 지속적으로사용된점이이를대변한다고볼수있다.이러한구도법을대략 樹下人物形･深山絶崖形･臨 水樓閣形의세가지로분류해보았는데이경윤,이징,김명국등으로대별되는조선중기의절파화가들의구도법과밀접히연관되어있는점을확인할수있었다.더구나<비파행도>와같은吳 派 계열의 畵題를 다루면서도 전형적인 조선 절파양식의 구도를 적용한 점은 도화서 화원들의보수성을 강하게 시사해주는 것으로 볼 수 있다.
《만고기관첩》에서조선중기이래의전통적구도가지배적이지만한편으로는새로운화풍을수용하여개성을발휘한참신한구도법도눈에띈다.중국전래의회화혹은판본을참고하여 혁신을모색하였는데, 장계만의<후적벽부도>는《천고최성첩》중의 <후적벽부도>와 『三才 圖會』중의「적벽산」판화를융합시켜개성적인그림을이루어냈고,양기성의 <공성등대도> 는 겸재 정선의 금강산 그림 가운데 <단발령망금강도>의 구성을 연상시키는 독특한 구성을 보였으며, 진재해전칭의<독락원도>는산수배경없이부감법으로내려다본정원의모습을그려내어明의仇英의<독락원도>를참고했을가능성을시사해준다.
尹斗緖･鄭敾등의문인화가들이남종화의선구를이루던18세기초반,도화서화원들도남종화법을수용하여변화에발맞추고있었음을알수있다. 17세기후반에도화서활동을시작한한후방･한후량의경우 17세기화법을고집스럽게견지하고있었으나, 장득만은필법과설채법에서절충적기량을발휘하고있었다. 1720년무렵도화서활동을시작한양기성은새로운남종화양식을 보다 능동적으로 받아들였다. 전반적으로 부드럽고 온화한 필선을 구사하였고, 피마준과미점준등의남종화준법을활용하였는데, 1737년에영조의명을받고제작한 《善可法帖》 중의<황향선침도>를보면양기성이남종화법을더욱진전시켰음을볼수있다.
《만고기관첩》의회화를통해18세기전반청록산수화양식의변화상도읽을수있다.굵고명료한 필선으로 정의한 산과 언덕에 거의 여백 없이 청록의 채색을 가하고 석록의 태점을 찍어도식적인 궁중장식화의 특징을 보이는 한후방･한후량의 그림은 17세기 한시각의 《북새선은도》의화풍과연관이깊다. 뛰어난설채법을자랑했던장득만과그의동생인장계만은청갈색조의세련된채색감각으로보다회화성이높은채색화의세계를보여주어 18세기화단에서채색화의 다양성에 기여했다고 여겨진다. 양기성은 산이나 언덕의 윤곽선을 따라 부분적으로 청록을가하고갈색의바탕색을더많이살렸으며,담녹의호초점과다양한점준을찍어마무리하였는데,무엇보다느슨한피마준과米芾式米點皴을가한작품이눈에띄어鄭敾이이루어낸문인적 아취가 느껴지는 청록산수를 지향한 것으로 생각된다. 청록산수화와 같은 전통성이 강한장르에서도 도화서의 화원들이 전시대의 화법에 머무르지 않고 꾸준히 변화를 모색했음을 알 수있다.
《만고기관첩》의그림을담당한화가들은 17세기말에서 18세기초까지도화서에서주도적역할을 했던 화원들이지만 그동안 제대로 조명 받지 못했던 것은 무엇보다 작품이 알려지지 않았기때문이다.이번고찰을통해18세기초반도화서내에신･구화풍이공존해있었으며새로운세대에의해점진적인변화가모색되고있었음을볼수있었다.소위절파화풍에서남종화풍으로전개되는繪畵史에있어서변혁기라할만한시기에활동하면서이들이전통과혁신을어떻게 조화시키고 대체시켜 나갔는지를 확인할 수 있었다.

영어초록

It is the aim of this study to look into the subject matters and the painting style of the Man-go-gi-gwan Album, and make out the painting style of the court painters in the first half of the 18th Century.
The Man-go-gi-gwan Album is an album of calligraphy and painting comprising the original text and corresponding paintings of the old prose and poetry and that of the ancient events related to dutiful sons, sages, wise retainers, and immortals. In this study, the two sets of albums are referred to as the Man-go-gi-gwan Album; one in the collection of Leeum, Samsung Museum of Art, and the other in the collection of Museum Yamatobunkakan(Japan). Each set of albums originally consisted of four volumes, but only three are extant. The paintings were done by court painters; Han Hu-bang(韓後邦), Han Hu-ryang(韓後良), Jang Deuk-man(張得萬), Jang Gye-man(張繼萬), Yang Gi-seong (梁箕星) and Jin Jae-hae(진재해), and the texts are the calligraphy of Yoon Soon, civil minister in the late-Joseon Dynasty. Considering the time span of their career as court painters, both the albums were produced during the 1720s; the album in Leeum first, and that in Yamatobunkakan slightly later.
It can be presumed that the Man-go-gi-gwan Albums are a selection and combination of various different types of albums such as the Qian-gu-zui-sheng Album, sets of paintings for moral teachings which had been produced as screens or albums in court, the album of wise retainers(君臣圖像), various paintings of ancient anecdotes(故事圖), and the Chinese woodblock illustrations such as the Lie-xian-quan-chuan(列仙全傳) that illustrates the immortals. They show the category of paintings the court painters had been engaged in.
The paintings of the Man-go-gi-gwan Albums probably followed the themes that had already been painted repeatedly, and thus had the fixed iconography. The fact that the paintings are mostly based on the composition typical of the Che School style of the mid-Joseon Dynasty reflect it. The composition formula can be categorized into three types; the figure under a tree type, the figure on a cliff in deep mountain type, and the pavilion by the water type. It hints to the strongly conservative tendencies of the court painters.
Meanwhile, a new kind of composition was applied in some paintings. The painters used Chinese paintings or woodblock illustrations for their inspiration. Jang Gye-man(張 繼萬)'s painting of the Red-cliff Ode probably referred to the painting of the same theme from the Qian-gu-zui-sheng Album(千古最盛帖) and the San-cai-tu-hui(三才圖會). The painting, the Garden for Solitary Enjoyment(獨樂園), attributed to Jin Jae-hae(秦再奚) takes the bird's-eye-view of the garden filled with figures without the mountain background, which is a rather rare composition. It hints to the fact that the painter was aware of Chiu Ying(仇英)’s painting of the same theme.
Scholar painters such as Yoon Du-seo(尹斗緖) and Jeong Seon(鄭敾) who adopted the Southern School painting style of the Ming, China, were active in the earlier half of the 18th century. The court painters are also confirmed to have applied the new painting style in their works. While painters, Han Hu-bang(韓後邦) and Han Hu-ryang(韓後良) whose career in the Painting Bureau began in late 17th century stubbornly maintained the style of the previous century, Yang Gi-seong(梁箕星) who joined the Painting Bureau in around 1720 was more active in learning and using the new style. His strokes that defined the outlines are loose and soft, and he used such strokes as hemp-fiber strokes (披麻皴) and the dotting strokes of Mi Fei(米點皴), which represent the Southern School painting style.
The change of style in the blue-and-green landscape in the earlier 18th Century Joseon can be detected through the paintings of the Man-go-gi-gwan Albums. Han Hu-bang(韓 後邦) and Han Hu-ryang(韓後良) used rather thick and clear outlines for the hills and mountains and applied the blue-and-green color fully with mineral-green dots, representing the highly patternized and decorative style of court painting. It compares closely with Han Shi-gak(韓時覺)’s Special National Examination for Applicants from Northeastern Provinces(北塞宣恩圖) painted in 1664. Meanwhile, Yang Gi-seong(梁箕 星) applied blue-and-green color limitedly along the outlines, and applied various dots such as tiny black-pepper dots(胡椒點) in shaded green instead of mineral green.
Especially, his use of hemp-fiber strokes and the dotting strokes of Mi Fei(米點皴) shows that he pursued the new and elegant style of blue-and-green landscape attained by Jeong Seon(鄭敾), though far from attaining the refined taste of the latter.
The court painters who participated in the production of the Man-go-gi-gwan Albums were leading figures in the Painting Bureau between the late-17th Century and the earlier 18th Century. Through their works contained in the Man-go-gi-gwan Albums, it can be confirmed that the old and new styles were coexisting in the Painting Bureau in the earlier half of the 18th Century, and that changes were being made gradually by the new-coming generation. It is meaningful to have traced how the court painters combined the tradition and innovation and how they moved to replace the old trend with new in the period of changes.

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