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겸재 정선은 우리 회화사에 있어서 분명히 독보적인 존재이며, 누가 보더라도 중국의 畵報式觀念山水화풍을 일신하고 한국적 산수화를 그려낸 위대한 화가임에는 분명하다. 겸재의 진경산수는 중국의『顧氏畵譜』, 『唐詩畵譜』, 『芥子園畵傳』등의 화보와『三才圖會』, 『海內奇觀』, 『名山圖』등의 山水版畵集에서 벗어난 조선만의 진경산수화를 창조했다. 진경산수화만이 지닌 독창성은 겸재 진경산수화의 본질이라 할 수 있다. 그간 겸재 진경산수화에 대한 해석은 제작배경에 치중되어 ‘탈중국’ 혹은 ‘조선중화주의’를 지나치게 의식한 연구였다. 조선 성리학으로 구조화 시키고 중국산수화보의 모방과 영향아래 기법상의 남종화 혹은 북종화의 선택적 수용이냐? 식의 절충주의적인 시각과 『주역』의 음․양으로 일관하는 해석이 중심이었다. 더욱이 조선중화주의 계보와 겸재정선을 연결지어 ‘畵聖’이라는 칭호로 이상화함으로써 일찍 국제적인 미술시장에서 성공적으로 살아냈던 직업작가로써의 인간겸재를 왜곡하는 결과를 초래하였다. 그것은 아마도 시대적인 상황으로 인하여 선학들이 처했던 시대적인 소명과 우리 것에 대한 애정이 있었기 때문일 것이다. 그러나 오히려 그러한 지나친 애정의 오류가 가장 해석의 여지가 많은 회화작품을 편협한 한계 속에 가두어 놓았던 것이 아닌가 생각된다. 이제는 충분히 민족적인 자존감이나 한국적인 것에 대한 성찰이 있었으니 옛 사람의 눈과 옛 시대의 그림으로 겸재의 진경산수를 해석하기 보다는 다양하고 열린 사고 속에서 해석되어져야 한다. 예컨대 미술에 대한 다 학제 간의 접근, 즉 역사, 미학, 철학, 양식론, 도상학, 문화기호론 등을 통한 살아 움직이는 ‘진경’에 대한 해석이 필요하다. 이에 연구자는 창작자의 관점에서 본 겸재 진경산수화에 나타난 남․북종 ‘화법’의 융합성을 고찰하여 겸재 진경산수화의 독창성을 새롭게 모색하고자 한다.
Jeong Seon(1676~1759) is one of the most eminent painters in late Joseon Dynasty(1700~1850) and is considered the founder of Korean true-view landscape painting, which explored the scenic beauty of the capital city of Hanyang, the Han River, the East Sea, the famous Diamond Mountains and many others. Departing from previous painting practices and traditional Chinese styles, he created a new type of painting celebrating the virtues of his native land. This papers summarized the research history of Jeong Seon’s Jinkyoung landscape painting, presents a critical view of Jinkyoung culture and the age of Jinkyoung that draw the keenest attention and the core of whose argument is difficult to identity. Also this papers contemplated two interpretation one Choi Wan-su’s monographs which is consist of Seongrihak(Neo-Confucianism) the theory of China - oriented thinking and Noron (Elderly Political Faction) and the other monographs is Jinkyoung landscape painting was effected Chinese painting styles which is what it called Namjong muninwha. However First Choi Wan-su’s monographs is kind of ultra-nationalist approach has distorted our understanding of Jeong Seon’s Jinkyoung landscape painting. For one thing many facts about Jeong Seon were composed and interpreted in this framework and as a result Jeong Seon was used not for his artistic role as a painter but as a tool to prove Jinkyoung culture theory if the assumption and interpretation of the Jinkyoung culture and the theory of Jinkyoung age are accepted the late Joseon period would be regarded as a very narrow minded unproductive leading to an acknowledgement of the colonial view of history. These uncritically biographical accounts of Jeong Seon that were, in fact, exaggerated and embellished in writing about the life and work of the artist. Second what is Jeong Seon’s Jinkyoung landscape painting originality and creativeness? The most of scholars realized that Jeong Seon’s Jinkyoung landscape painting are copied or influenced from Chinese painting styles. They not look forward worthy of the canons of painting about Jinkyoung landscape painting. The myth making of Jeong Seon has had an enormous impact on the ways in which we understand and evaluate the Jeong Seon’s artistic achievements. Now new perspectives and viewpoints are needed to gain a better understanding of the real Jeong Seon’s Jinkyoung landscape painting. And I suggested that if we want to know truth Jeong Seon’s Jinkyoung landscape painting we have to focus on Jeong Seon’s the work of arts. For the purpose, I contemplated and analyzed definitions of originality of Jinkyoung landscape paintings, which are understood and accepted by historians’s distorted interpretation. And I discovered the Jinkyoung landscape painting’s originality done by harmonies which Namjongmuninwha and bukjongwhawarnwha, however even done by convergency it could be simultaneously originality.
키워드열기/닫기 버튼
JeongSeon,Jinkyounglandscapepainting,painting,interpretation Jeong Seon’s the art of drawing, convergency, originality
JeongSeon, Jinkyounglandscapepainting, painting, interpretation Jeong Seon’s the art of drawing, convergency, originality
