조선말기 瀟湘八景圖의 제작양상과 의미 - 소상팔경도와 시의도의 조합을 중심으로 (Form and meaning of production of the late Joseon Dynasty the paintings of the eight views of xiao-xiang river - Focusing on the combination of the paintings of the eight views of xiao-xiang river and)

서지정보

· 발행기관 : 원광대학교 인문학연구소
· 수록지 정보 : 열린정신 인문학 연구 / 21권 / 3호 / 309 ~ 352페이지
· 저자명 : 장계수

초록

본고에서는 조선말기에 제작된 소상팔경도 가운데 瀟湘八景圖와 詩意圖가 조합된 형태의 작품에 대해 살펴보았다. 瀟湘八景圖와 詩意圖는 문학과 회화가 조화를 이룬 대표적인 회화로서 서로 통하는 부분이 있지만, 각각의 회화 전통을 지니고 그려져 왔다. 그런데 조선말기에는 각각의 산수화로 그려졌던 소상팔경도와 시의도가 함께 조합을 이루어 하나의 병풍으로 제작되는 양상이 나타났다. 오랜 역사를 지닌 만큼 각각의 제작 전통으로 인해 쉽지 않은 변화였다. 특히 소상팔경도의 경우는 제재가 되는 瀟湘八景이 거의 定型化되어 그려져 온 제작관습의 변화는 회화사적으로도 의미 있다.
이런 제작 양상의 변화를 이해하기 위해 조선후기의 소상팔경도와 시의도의 제작 경향을 살펴보았다. 이를 통해 조선후기 소상팔경도는 조선중기부터 유입된 다양한 畵譜를 참고하여, 이전시기와는 다른 소상팔경도의 定型이 완성되었다. 시의도는 중국 明代에 활발했던 시의도 제작과 畵譜의 영향으로 유행하였음을 알 수 있었다. 그리고 이들 두 산수화가 새로운 유형의 완성을 이루고 유행을 이끈 인물이 겸재 정선이라는 공통점이 있었다. 또한 소상팔경도는 청화백자의 산수문양으로 시문되었는데, 시의도가 함께 그려지기도 했다. 청화백자에 그려진 시의도는 唐詩가 많았다. 청화백자에 소상팔경도와 시의도가 함께 그려진 점과 시의도에 주로 唐詩가 차용된 점은 조선말기 소상팔경도 제작양상과 관련이 있다는 것을 알 수 있다. 조선말기에 소상팔경도로 수용된 시의도 역시 唐詩가 가장 많고, 산수문양의 화제가 된 시는 대부분 소상팔경도와 시의도 합작품에서 확인되는 점은 시사하는 바가 있다.
조선말기에 보이는 소상팔경도와 시의도가 조합된 작품의 구성은 소상팔경도 7폭과 시의도 1폭, 소상팔경도 6폭과 시의도 2폭, 소상팔경도 8폭과 시의도 2폭, 소상팔경도 4폭과 시의도 4폭 등 다양하다. 이러한 조합은 조선후기에 시의도가 유행하면서 소상팔경을 대신하는 시의도를 수용하고, 이로 인해 점차 확대된 것으로 추정된다.
조선후기에 유행한 시의도가 조선말기에 이르러 소상팔경도에 수용되어 함께 향유된 것은 이전 시기의 소상팔경도와는 구별된다. 조선말기에는 시의도가 조선후기만큼 애호되지 않았다. 그렇지만 소상팔경도와 시의도가 조합되는 형태로 제작되는 양상은 향유층이 넓혀지고, 대중화되는 현상으로 이해될 수 있다. 특히 시의도로 제작된 시는 조선후기부터 사랑받았던 唐詩가 가장 많았다. 또한 연행에서 불린 노래 가사에도 唐詩가 많이 차용되었던 현상을 통해 당시가 대중화되었음을 알 수 있다. 조선말기에는 이런 다양한 문화변동의 영향을 받아 소상팔경도와 시의도가 조합되는 새로운 유형의 작품이 제작되었다.

영어초록

In this paper, I looked into the works in the form of a combination of the paintings of the eight views of xiao-xiang river and the Poetic Painting among the paintings of the eight views of xiao-xiang river produced in the late Joseon period. The paintings of the eight views of xiao-xiang river and the Poetic Painting are representative paintings in which literature and painting harmonize, and although there are parts that communicate with each other, they have been drawn with their respective painting traditions. However, in the late Joseon Dynasty, the paintings of the eight views of xiao-xiang river and the Poetic Painting, which were drawn in each landscape painting, were combined together to form a single folding screen. As it has a long history, it was a difficult change due to each production tradition. In particular, in the case of the paintings of the eight views of xiao-xiang river, the changes in the production customs that have been drawn with the sanctioned the eight views of xiao-xiang river are almost standardized, which is also significant in the history of painting.
In order to understand this change in the production pattern, we looked at the production trends of the paintings of the eight views of xiao-xiang river and the Poetic Painting in the late Joseon Dynasty. Through this, it could be seen that the designation of the paintings of the eight views of xiao-xiang river, which was different from the previous period, was completed by referring to painting album introduced from the middle of Joseon Dynasty. It can be seen that the Poetic Painting was popular due to the influence of poetry production and painting album, which was active during the Ming Dynasty in China. And these two landscape paintings achieved a new type of completion and became fashionable, and the character who played the role had a common point: Gyeomjae Jeongseon. In addition, the paintings of the eight views of xiao-xiang river was poetically written with a landscape pattern of the Cheonghwa white porcelain, and it was also drawn with the Poetic Painting. The poems drawn on the Cheonghwa white porcelain were often Tang Dynasty Poems. It can be seen that the fact that the paintings of the eight views of xiao-xiang river and the Poetic Painting were drawn together on Cheonghwa white porcelain, and that Tang Dynasty Poems was mainly borrowed from the Poetic Painting were related to the production pattern of the paintings of the eight views of xiao-xiang river in the late Joseon Dynasty. Poetry, which was accepted as the paintings of the eight views of xiao-xiang river in the late Joseon Dynasty, also had the greatest number of poetry, and most of the poems that became the topic of mountain and water patterns were confirmed in the joint works of the paintings of the eight views of xiao-xiang river.
The Poetic Painting, which was popular in the late Joseon Dynasty, was accepted and enjoyed in the paintings of the eight views of xiao-xiang river in the late Joseon Dynasty. In the late Joseon Dynasty, the Poetic Painting was not as popular as the late Joseon Dynasty. However, the aspect of being produced in the form of a combination of the paintings of the eight views of xiao-xiang river and poetry can be understood as a phenomenon in which the layer of enjoyment is expanded and popularized. In particular, poems produced in the Poetic Painting were the most popular poetry, which was loved since the late Joseon Dynasty. In addition, it can be seen that the time was popularized through the phenomenon that Tang Dynasty Poems was widely used in the lyrics of songs sung in performances. At the end of the Joseon Dynasty, a new type of work was produced, which combines the paintings of the eight views of xiao-xiang river and si-eui-do, influenced by these various cultural changes.

참고자료

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