五代부터 元代까지의 중국벽화에 보이는 花卉圖 (The Depiction of Flower Subject in Chinese Murals from the Five Dynasties to the Yuan Dynasty)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 27호 / 235 ~ 255페이지
· 저자명 : 한정희

초록

The depiction of flowers in Chinese murals began in the Tang Dynasty and continued uninterrupted until the Yuan Dynasty. After their first appearance during the Tang Dynasty, sometimes individually and sometimes in the form of screens, flowers rapidly began to be depicted with more frequency. In the Five Dynasties period, flower painting developed further; flowers became a key motif in murals and came to fill entire walls. As demonstrated by murals in tombs such as those of Wang Chuzhi and Feng Hui, flowers emerged as one of the main motifs for wall decoration, coming in two main categories: pingfeng (“folding screen”) style and tongping (“open screen”) style, which treated the wall as one single canvas. Most flower paintings were arranged in left-right symmetrical patterns, while a vine motif appears in the tomb of Feng Hui. The restrained use of color in these images illustrates the process of transition to ink-and-wash paintings that was in motion at the time. During the Liao Dynasty, a large number of murals were painted in the Inner Mongolia region. A variety of flowers is found in the murals of the Zhang family mausolea in Xuanhua, Shanxi Province; visiting these tombs feels like entering a paradise of flowers. The Liao tombs at Xuanhua feature various other motifs as well as flowers, but flowers are their most important subject matter and are depicted in a variety of ways. A brief summary of the depiction of flowers in Liao Dynasty art could be divided into four categories: single flowers, single vines, a flower together with a crane,and potted flowers. When it comes to expression of love for flowers in murals, the Liao Dynasty can be regarded as an historical peak. In no other period was such a love for various flowers manifested. Attempts to make tomb interiors into floral paradises by preserving and recreating the beauty of one single flower can be found. Such attempts made use of the Tang method of decorating sarcophagi with one each of several varieties of flower, while the depiction of a single vine has its origins in Tang handicrafts. This phenomenon is presumed to be due to the influence of native Han Chinese artists active in the Liao region at the time. After reaching a peak in the Liao Dynasty, the depiction of flowers continued through the Song, Jin and Yuan dynasties but without the emergence of new forms. In the Jin and Yuan dynasties, however, new and somewhat more expressionist transformations were sometimes attempted, in ways such as the use of rougher brush strokes and occasional changes in proportion. Flowers in decorated tombs were always the motif most representative of the desire of the descendants of the deceased for fortune and worldly blessings. This explains their strong growth. The rapid decline of mural tombs after the Yuan Dynasty, however, led to the discontinuation and disappearance of floral motifs. Not many conventional paintings or genre paintings of flowers from the Liao to the Yuan Dynasty survive in China today. A large number of flowers and genre paintings of flowers can be found in burial chamber decorations, however. These flowers are painted with the utmost care, in the hope of blessing and good fortune for the deceased and, consequently, good fortune for her or his descendants. These subterranean scenes, consequently, are valuable resources that are perfectly adequate when it comes to making up for the lack of conventional paintings from these periods. Studying them offers us a glimpse of the aesthetic sense and view of the afterlife held by people at the time of their creation.

영어초록

The depiction of flowers in Chinese murals began in the Tang Dynasty and continued uninterrupted until the Yuan Dynasty. After their first appearance during the Tang Dynasty, sometimes individually and sometimes in the form of screens, flowers rapidly began to be depicted with more frequency. In the Five Dynasties period, flower painting developed further; flowers became a key motif in murals and came to fill entire walls. As demonstrated by murals in tombs such as those of Wang Chuzhi and Feng Hui, flowers emerged as one of the main motifs for wall decoration, coming in two main categories: pingfeng (“folding screen”) style and tongping (“open screen”) style, which treated the wall as one single canvas. Most flower paintings were arranged in left-right symmetrical patterns, while a vine motif appears in the tomb of Feng Hui. The restrained use of color in these images illustrates the process of transition to ink-and-wash paintings that was in motion at the time. During the Liao Dynasty, a large number of murals were painted in the Inner Mongolia region. A variety of flowers is found in the murals of the Zhang family mausolea in Xuanhua, Shanxi Province; visiting these tombs feels like entering a paradise of flowers. The Liao tombs at Xuanhua feature various other motifs as well as flowers, but flowers are their most important subject matter and are depicted in a variety of ways. A brief summary of the depiction of flowers in Liao Dynasty art could be divided into four categories: single flowers, single vines, a flower together with a crane,and potted flowers. When it comes to expression of love for flowers in murals, the Liao Dynasty can be regarded as an historical peak. In no other period was such a love for various flowers manifested. Attempts to make tomb interiors into floral paradises by preserving and recreating the beauty of one single flower can be found. Such attempts made use of the Tang method of decorating sarcophagi with one each of several varieties of flower, while the depiction of a single vine has its origins in Tang handicrafts. This phenomenon is presumed to be due to the influence of native Han Chinese artists active in the Liao region at the time. After reaching a peak in the Liao Dynasty, the depiction of flowers continued through the Song, Jin and Yuan dynasties but without the emergence of new forms. In the Jin and Yuan dynasties, however, new and somewhat more expressionist transformations were sometimes attempted, in ways such as the use of rougher brush strokes and occasional changes in proportion. Flowers in decorated tombs were always the motif most representative of the desire of the descendants of the deceased for fortune and worldly blessings. This explains their strong growth. The rapid decline of mural tombs after the Yuan Dynasty, however, led to the discontinuation and disappearance of floral motifs. Not many conventional paintings or genre paintings of flowers from the Liao to the Yuan Dynasty survive in China today. A large number of flowers and genre paintings of flowers can be found in burial chamber decorations, however. These flowers are painted with the utmost care, in the hope of blessing and good fortune for the deceased and, consequently, good fortune for her or his descendants. These subterranean scenes, consequently, are valuable resources that are perfectly adequate when it comes to making up for the lack of conventional paintings from these periods. Studying them offers us a glimpse of the aesthetic sense and view of the afterlife held by people at the time of their creation.

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