earticle

영어

As Nanzong literary painting style flowed in earnest upon the Joseon Renaissance in late Joseon period(1700-1850), paintings – When Nanzong literary painting style was introduced in the Joseon Renaissance, late Joseon period (1700-1850), Shieuido paintings Thus, Danwon Kim Hongdo (1745-1806?), a painter in painting art academy, expressed awareness of a literary man through the literary painting form of literature and art being one and particularly exhibited his individuality with more will and taste on paintings expressing poetic ideas. Danwon’s painting style was the then archetype that created various spirits of the times through original aesthetic awareness and that was leading the Shieuido, the Nanzong literary painting style. Studies on Danwon had been consistently made but independent studies on Danwon’s Shieuido as three excellencies of poem, calligraphy and painting had been insignificant so far. This study, therefore, is to examine Shieuido on which philosophical thinking and literary ability of Danwon, the representative late-Joseon painter, and made a discussion on pictorial aesthetics of that period. Shieuido, a new painting form in 18thcentury, reflected various spirits of the times and aesthetic sense and the painter’s philosophy and character as well. Diverse ideas of Confucianism, Buddhism and Zen, Silhak(RealistSchoolofConfucianism) and the doctrines of WangYangming are inherent particularly in Danwon’s painting expressing poetic ideas created by voluntarya esthetic awareness includes. In other words, the idea that art should educate people and help with the irmoralitywasreflectedtohispaintingexpressingpoeticideasand Neo-Confucianideals were expressed with paintings expressing poetic ideas inreals ceneryl andscapes. Poetictaste of poems o fTang, Song and Joseon that people loved to recite that time was given shapes with yrical Paintings expressing poeticideas. They demonstrate idea so poetry speaking one’s will while the writing so fhismind(文以載道的 詩言志); express imagery with poetry and; had a shape with painting. Furthermore, Danwon’s Shieuido embodied political ideals of King Jeongjo; Confucian utopia that scholars living in seclusion longed for and; enchanted land of Zen Buddhism with transcendental freedom.

한국어

문예부흥기라 불리는 조선후기(1700-1850)는 남종문인화풍이 본격적으로 유입되면서 詩畵가 一律을 이루는 詩意圖가 유행하였다. 그에 따라 화원화가였던 檀園 金弘道(1745-1806?)는 文藝一致의 문인화형식을 통해 문사의식을 표출하였고, 특히 詩意圖에서 더욱 志趣가 넘치는 개성을 드러내었다. 다양한 시대정신을 독창적 심미의식으로 창출하는 단원의 화풍은 당대의 전형이었고, 남종문인화풍인 詩意圖를 주도하고 있었다. 그동안 단원에 대한 연구는 부단하게 이루어져왔지만, 詩書畵 三絶로서 단원의 詩意圖를 독자적으로 연구한 경우는 미미하다. 이에 본고는 조선후기의 대표적인 화가 단원의 철학적 사유와 문예적 기량이 발휘되고 있는 詩意圖를 살펴보고, 이를 통해 당대의 회화미학에 대한 논의로 이어가고자 한다. 18세기의 새로운 회화양식인 詩意圖는 다양한 시대정신과 美意識을 반영하고, 화가의 철학과 인품을 반영하였다. 특히 자율적인 심미의식으로 창출된 단원의 詩意圖에는 儒·佛·仙과 실학, 그리고 양명학 등 다양한 사유들이 내재되어있다. 즉, 成敎化 助人倫的 사유를 詩意圖에 반영하였고, 성리학적 이상을 實景山水 詩意圖에 담아내었다. 그리고 당대에 널리 애송되던 唐宋詩와 朝鮮詩 등의 詩的 情趣를 서정적 詩意圖로 형상화했다. 文以載道的 詩言志가 있고, 詩로써 心象을 표현하며, 畵로써 형상을 이루었다. 나아가 단원의 詩意圖는 정조의 정치적 理想과, 隱逸處士들이 동경하던 儒家的 理想鄕과 초월적 자유로움으로 펼쳐지는 仙佛的 仙境을 개성있게 구현해내고 있다.