earticle

영어

The painting group of Late Ming and Early Qing Dynasty is an era of confusion between the orthodox who faithfully cooperated with the Qing Dynasty and the individualist who had a hostile attitude. The country was ruined by these dynasties, and the family left the real world with the suffering of the breakdown and stayed in the mountains.Paldaesanin and Seokdo, the representative Yumin painters, did not form any a sect as a unique expression style for finding a true self.And, through his work, he expressed on madness and oddity through new ideas and composition that he feels misery and anger in his heart. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. Paldaesanin portrayed a strange figure with a spirit of resistance and a sad and angered emotion, through a unique technique of painting.The content is cynical, satirical, ironic, and on madness and oddity. On the other hand, Seokdo explained "ilhoeg" that the method of writing and the method of writing in 『Hwaeolog』agree with each other.This has allowed us to achieve autonomy as a "rule without rules" that goes beyond the existing rules. And he delicately portrayed beauty, desire, and emotion with the use of sensuous brushes and the beauty of the colors.Their unique paintings were later conveyed to yangjupalgoe and led to the flow of paintings in the 18th century.

한국어

명말청초의 화단은 淸왕조에 충실하게 협력했던 정통파와 淸에 적대적인 태도를 가졌던 개성파가 대립한 혼 란의 시대라 할 수 있다. 이러한 왕조교체기에 國破家亡之痛의 恨을 품고 현실을 초월해 산림에 은둔자적하였던 대표 적 유민화가였던 八大山人과 石濤는 참된 자아를 찾기 위한 개성적 표현 양식으로 어떠한 유파를 이루지 않았고, 작 품을 통해서 흉중의 비참함과 현실에 대한 울분을 자신만이 느끼는 새로운 착상과 구도를 통해 狂怪的으로 표현하였 다. 이들의 畫風은 비분에 싸인 자아마저 망각한 반규범적이며 무위자연적 사유를 통해 簡逸하면서도 광견적 심미관 을 형성하여 자신만의 개성미와 독창성을 野逸한 墨戱로 발현하였다. 八大山人은 저항정신과 비분강개가 함축된 기이 한 그림을 독특한 발묵선염법을 통해 주로 그렸는데, 冷笑·諷刺·反語的표현으로 狂放不麒하게 묘사하였다. 한편, ‘借 古以開今’을 주장한 石濤는 『畵語錄』에서 畵理와 筆法의 일치화를 一劃으로 설명하였는데, 이러한 一劃論은 기존의 法으로부터 벗어난 無法而法의 자율성을 확보하였다. 그리고 감각적 필묵과 색채미를 통해 유민의식에 기반한 興·欲· 情感이 遊戱的으로 형상화하였다. 이들의 개성적 화풍은 이후 楊州八怪에 전해져 18세기 화풍을 선도하였다.