earticle

영어

The name of this kind of paintings, Tianbaojiuru, comes from the section of Tianbao included in the “Xiaoya” (Small Elegance) chapter of Shijing (Book of Songs); nine elements resemble each other: mountain, hill, water, moon, sun, pine tree, and nut pine. This symbolizes the fact that the monarch consoles its subjects who respond to it including the hope that the state bestowed by the heavens will be long-lasting and that the king lives long while praising his virtues. This paper recognizes the visualized outcome of the painting of Tianbaojiuru out of the literary subject material of the Book of Songs as the highlighted traditional painting theme through Korea's modern-day period. Specifically, it sheds light on the background and origin of production of these paintings based on the combination of Nine Elements of the Book of Songs – Tianbao, using Chinese and Japanese examples. First, in the Chinese Ming Dynasty, thanks to the popularity of ink stick with Tianbaojiuru design and the publication of calligraphic writings such as Chengshi moyuan (Ink Garden of the Cheng Family), ‘jiuru’ paintings as landscapes were embodied. In Japan, Nanga painters actively engaged in producing the painting of Tianbaojiuru in the Edo Period and the Meiji Period; diverse iconographies related to longevity and blessings were added to such paintings, boosting their auspicious meaning. As such, considering the fact that Tianbaojiuru was a shared contemporary theme in both China and Japan, paintings on this theme were most likely produced in the Joseon Period in Korea. Among extant works, An Jung-sik's work in 1914 is known as the earliest Tianbaojiuru painting. Against such backdrop, this paper analyzes An Jung-sik's works as a model of Tianbaojiuru painting and examines how An Jung-sik as ‘the last court painter’ inherited the past tradition through the country's modern-day Tianbaojiuru painting and how he created a new market by attaching the meaning of the sixtieth birthday-related special demand to the paintings. Moreover, through his disciples leading modern-day painting circles, these paintings were marketed in the private sector, taking root as auspicious paintings.

한국어

天保九如는 『詩經』 ｢小雅｣의 ‘天保’篇에서 ‘如山如阜, 如岡如陵, 如川之方至, 如月之恒, 如日之升, 如南山之壽, 如松柏之茂’, 즉 산, 언덕, 물, 달, 해, 소나무와 잣나무 등의 아홉 가지 항목의 닮음에서 유래한 것이다. 이는 본래 군주의 위로에 신하가 화답하여, 하늘이 내린 나라가 오래도록 보전되고 임금이 만수무강하기를 바라며, 그 덕을 칭송하는 뜻을 담고 있다. 중국에서는 明代 천보구여 먹의 유행과 『程氏墨苑』과 같은 묵보의 출간에 힘입어 산수화로서의 ‘九如圖’가 구체화되었다. 일본의 경우에는 남화가들에 의해 에도시대, 메이지기에 ‘天保九如圖’로서 창작이 활발했으며, 壽福과 관련한 다양한 도상들이 첨가되어 길상적 의미를 더하게 된 것을 알 수 있었다. 이처럼 천보구여가 동시대 중국과 일본에서 공유되던 주제인 점을 미루어 짐작할 때, 국내에서도 조선시대에 천보구여도가 그려졌을 가능성은 충분하지만, 현전하는 작품으로는 안중식의 1914년 작품이 가장 이른 시기의 천보구여도로 알려져 있다. 이에 근대 천보구여도의 모범이 된 안중식의 작품을 분석하고, 왕실을 위해 봉사한 ‘마지막 화원’ 안중식이 한국 근대기 천보구여도를 통해 과거시대의 전통을 계승하는 한편, 환갑 特需라는 의미부여를 통해 새로운 시장을 창출해 낸 것을 살펴보았다. 그리고 천보구여도는 근대화단을 선도했던 그의 제자들을 중심으로 유통되며 길상화로서 자리 잡게 된 것이다.