鄭敾의 '倣古參今' - 조선후기 倣古산수화와 實景산수화의 相補性 (The Complementarity between Antiquity-Imitating Landscape Painting and Real-Scenery Landscape Paintings of the Late Joseon Period)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 257권 / 257호 / 187 ~ 203페이지
· 저자명 : 홍선표

초록

이 논문은 조선 후기 산수화의 핵심 과제인 방고산수화와 실경산수화의 관계성을 대립적이 아닌 상호 보완적이란 관점에서 양자를 모두 본격적으로 다룬 정선의 창작론을 통해 규명하려 한 것이다. 정선의 실경산수화는 기존의 주류적 견해였던 근대적 개념으로서의 지주적ㆍ주체적 발로가 아니라, 명대 말기부터 동아시아 문인 산수화인 남종화 창작론의 새로운 이념적 요소로 흥기된 실물경을 통한 古意인 天機의 실현에 따른 경향과 결부되어 전개된 것으로 파악된다. 조선 후기의 문인들은 이상적인 참모습의 산수화를 ‘眞景’으로 보고 제재면에서 ‘古眞景’인 방고산수화와 ‘實眞景’인 실경산수화를 차별하여 대립적으로 다루지 않았으며 양자를 모두 탈속적인 산수화로서 그리고 완상했다. 따라서 내셔널리즘과 모더니즘과 같은 근대적 이데올로기에 의한 표상에서 벗어나 실상과 부합되는 조선 후기 산수화의 역사를 재구축하기 위해서는, 방고산수화와 실경산수화가 대립적이 아닌 새롭게 자각된 문인화와 와유물의 영역에서 진정한 ‘古意’와 ‘古法’을 습득하여 이를 당세의 실물 조화경을 통해 직접 실현하고자 한 古今 이상=진경산수화의 상보적인 관계에서 보는 시각이 긴요하다.

영어초록

This thesis attempts to clarify the relationship which is the main topic of analysis on landscape paintings of late Joseon period between antiquity-imitating landscape painting and realscenery landscape painting from the perspective that the two are not antagonistic but complementary with one another The attempt is done through the painting theory of Jeong Seon who fully addressed the two Jeong Seon’s real-scenery landscape paintings were not a manifestation of autonomy and subjectivity as modern terminologies as interpreted by existing mainstream perspective It seems that the paintings were combined with the trend of realizing the ancient ideology of creation of the Heavens through real scenery raised as a new ideological factor by the painting theory of Southern School of China East Asian literati landscape painting active since the late Ming Dynasty Writers of the late Joseon period viewed ideal and real landscape paintings as true scenery and did not consider antiquity-imitating landscape paintings based on imaginary scenery and real-scenery landscape paintings based on real-life scenery antagonistic with one nor differentiated the two in terms of subject matter They were both considered to be unworldly landscape paintings and appreciated them as such Therefore in order to overcome the idea of representation according to modern ideologies such as nationalism and modernism and to reconstruct the history of landscape paintings of the late Joseon period we need the following perspective The antiquity imitating landscape paintings and real-scenery landscape paintings of the late Joseon period were not antagonistic with one another They inherited the ancient ideas and ancient methods from the perspective of newly realized literati landscape paintings and tried to directly realize the ideas and methods through the harmonious and orderly scenery of that period In short their relationship should be seen as complimentary the ideal of all ages equals true-view landscape painting

참고자료

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