조선 중기 회화와 광태사학파 (Mid-Chosŏn Painting and the “Wild and Heterodox” School of Ming Painting)

서지정보

· 발행기관 : 미술사와 시각문화학회
· 수록지 정보 : 미술사와 시각문화 / 11호 / 250 ~ 271페이지
· 저자명 : 장진성

초록

조선 중기 회화의 주요한 특징 중 하나는 중국 절파(浙派) 화풍의 수용, 확산, 유행이다. 특히 절파 중 후기 절파인 광태사학파(狂態邪學派) 화풍의 영향은 절대적이었다고 할 수 있다. 이 글은 조선 중기 회화에 끼친 광태사학파의 양식적 영향을 구체적으로 추적한 연구이다. 정문림(鄭文林, 16세기 활동), 장숭(蔣崇, 16세기 전반 활동), 장로(張路, 약 1490-1563년), 왕조(汪肇, 16세기 활동) 등 광태사학파의 대표적인 화가들의 화풍이 조선 중기 회화에 어떠한 양상으로 나타나는 가를 개별 작품에 대한 양식적인 분석을 통해 살펴본다.

영어초록

The Zhe school style introduced in early Chosŏn Korea played a crucial role in shaping a new pictorial tradition, gradually replacing that of the predominant An Kyŏn (active ca. 1440-1470) school. As following and further expanding the pictorial idioms of Li Cheng, Guo Xi (ca. 1001-1090), Ma Yuan (active ca. 1190-1225) and Xia Gui (active ca. 1195-1230), the Zhe school formed the basis of the professional and academic traditions of the Ming and had a profound impact on Korean painting. In particular, the styles of such late Zhe school masters such as Zhang Lu, Jiang Song, Zheng Wenlin, and Wang Zhao played a central role in the formation of mid-Chosŏn painting. They were leading painters of the “Wild and Heterodox” school whose styles were characteristic of bold, large compositions, scribbly and swift-running brushwork, strong black-and-white effects, and contrasting ink values. Their paintings gained enormous popularity in Nanjing and neighboring cities,exerting a powerful influence on the art world of sixteenth-century China.
Although it is unclear when and how their works were introduced to Chosŏn Korea, some of the Korean paintings of the sixteenth and seventeenth centuries show that the styles of masters of the “Wild and Heterodox” school had an impact on mid-Chosŏn painting. A case in point is Kang Hu˘i-an’s (1419-1464) Lofty Scholar Contemplating Water, now in the National Museum of Korea. This painting has been thought to be a mid fifteenth-century painting. In many aspects, it is, however, a mid sixteenth-century landscape revealing the influence of the ‘Wild and Heterodox’ school. In composition, Lofty Scholar Contemplating Water is extremely close to Zhang Lu’s (ca. 1490-ca. 1563) Fisherman Under a Cliff, in the Gokoku-ji, Japan, featuring a figure under an overhanging large cliff with bushes looming out. Furthermore, the motif of the combination of finely drawn reeds and thickly contoured and richly ink-washed rocks is only found in Jiang Song’s (active first half of the sixteenth century) paintings such as Boating in Autumn, formerly in the Collection of James Cahill. The use of “burnt” or “roasted” ink and several contour lines in depicting rocks is also found in Lohan, dated 1562, now in the Los Angeles County Museum of Art and in Water Buffalo by Kim Si (also called Kim Che, 1524-1593), one of the leading painters of the sixteenth century, now in a private collection, Japan.
Zhang Lu preferred to us a large composition with an overhanging cliff on one side and figures below it, simplifying the scene and bringing it closer.
His use of scribbly and splashy brushwork with lots of wet ink wash and busy, swift-running, and wavering lines is powerfully demonstrated in his stylistically extreme landscapes. The stylistic features of Zhang Lu are found in such Korean paintings as Landscapes with Figures, an album attributed to Yi Kyŏng-yun (1545-1611), now in Horym Museum of Art. Zhang Lu’s landscapes with Daoist figures, featuring Daoist immortals set in the center and drawn large under an enormous overhanging cliff with bushes or barren trees exerted a stylistic influence over Korean Zhe-school painting, as seen in Daoist Immortals Dancing and Playing Musical Instruments by Ch’oe Myŏng-ryŏng (1567-1621) and Scholars looking at a Waterfall by Kim Myŏng’guk (1600-after 1622), both now in the National Museum of Korea. The stylistic hallmarks of Zheng Wenlin (active sixteenth century), the feverish animation of rustic scenes with twisted and contorted figures engaged in a variety of hyperactive pursuits whose faces drawn into grins or grimaces, the curling and undulating movements of forms, and the excessive exaggeration of trees, are clearly featured in Daoist Immortals under Pine Trees by a unidentified painter whose style names is Pyŏ’am (Leopard Rock), now in the National Museum of Korea and Two Old Men Viewing a Hanging Scroll by Kim Myŏng’guk, currently in Kansong Art Museum. Wang Zhao’s (active sixteenth century) eccentric style is also found in Scholars Looking at a Waterfall attributed to Yun In-gŏl (active sixteenth century), now in the National Museum of Korea. The contribution of Zhang Lu, Jiang Song, Zheng Wenlin, and Wang Zhao to the formation and development of mid-Chosŏn was, in fact, strong and lasting.

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