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This thesis studies a true-view landscape painting of the west village(西村) in late Joseon period. First, the present condition and painterly features of the region’s noted places are mentioned, and then points of reviews are discussed based on the characteristics drawn from the comparison between the picture and a real view. A true-view landscape painting has acted as an important intermediary through which 18thCentury west village’s noted places has become beauty spots at present. Although written documents on the noted places of the west village were important, a true-view landscape painting had a huge influence on the history of painting and the related research fields in that it brought old place of the west village out alive through visible pictures. The fact that a true-view landscape painting is considered as the main “landscape text” to understand “cultural landscape” or “historical landscape” is a good example. Most paintings of the west village are the works of Jeong Seon(鄭敾, 1676-1759), who was a leading painter of a true-view landscape painting in 18thCentury, and his two albums of “Jangdongpalgyeongcheop(壯洞八景帖)” and several pieces are still present. Jeong Seon(鄭敾) has painted many places in Hanyang(漢陽), the capital city, but most of his paintings were on the west village. This is possibly because it was where he was born and brought up, and he was very familiar with the beautiful views of this place. Even though some places in the true-view landscape painting of the west village are now damaged, there are still quite a lot of places which remain as it were so that it becomes possible to compare them with the picture. These actual places portrayed in the painting are significant as they could visually show the past view, compare with the real view and give us a room to study the history of the people and the space. In chapter II, important places of the west village are studied based on the poetry of Kim Sangheon(金尙憲, 1570-1652) and pictures of Jeong Seon(鄭敾). In selecting the noted places, Kim Sangheon(金尙憲)’s main focus was on natural landscapes while as for Jeong Seon(鄭敾), it was based on the history of the people. In particular, a noted place in “Jangdongpalgyeongcheop(壯洞八景帖)” is divided into Baekak(白岳) Mountain area and Inwang(仁王) Mountain area, and they are categorized by the places of scenic beauty, places where famous people stayed, a summer house and a back garden, thus making up eight views altogether. Jeong Seon(鄭敾) considered the relation of the place to the people as most important in selecting noted places. In other words, he thought a famous place without people cannot be appreciated. So certain places where people stayed were symbolized by special sceneries to represent that person. Also, four noted places of Bakak(白岳) Mountain and Inwang(仁王) Mountain respectively, were put together under “Jangdongpalgyeong(壯洞八景).” To Jeong Seon(鄭敾), these places from each mountain were considered equal. In chapter III, a point of review is discussed based on the comparison between the actual view of the west village and the painting. Many studies have been conducted on the trueview landscape painting of the west village but not enough understanding has been made on the real view, the object of painting. Jeong Seon(鄭敾)’s “Inwang jesaekdo(仁王霽色圖)” and Kang Heeon(姜熙彦, 1710-1784)’s “Inwang sando(仁王山圖)” are the two best examples. When the painting is compared to the real view, the structure of the scenery reveals the intention of the painter, his perspective, his true-to-real expression and how he tried to express his idea through the scenery. Specially, as for “Inwang jeseakdo(仁王霽色圖),” I sought to locate the actual places portrayed in the planting, based on the reliable scenery of the painting. The process of confirming actual place has proved that the illustrated location of Jeong Seon’s “Pilunsanghwa(弼雲賞花)” might be around Seshimdae(洗心臺), at the skirt of Inwang(仁王) Mountain, not around Pilundae(弼雲臺). Also, with the painting “Cheongpunggye(淸風溪),” I recomposed an old place by tracing back the true view scenery. The original places in the true-view landscape painting are main clues which can tell the history of the present view. Next, with “Janganyeonu(長安烟雨)” and “Yuksangmyodo(毓祥廟圖),” after a close examination of clues in the paintings and documents, I was able to point out the issues regarding the time and the background of the paintings. The main clue in “Janganyeonu(長安烟雨)” was the three gates in Yuksang shrine(毓祥廟). It tells that this picture was painted in 1753(Yeongjo 29) when Yuksang shrine(毓祥廟) was raised to the status of the palace. “Yuksangmyodo(毓祥廟圖)” which was painted in 1739(Yeongjo 15) shows the seating orders of the vassals who were related to the royal enshrinement of the Queen Sunui in 1732, which proves that this painting was irrelevant to Yuksang shrine. In short, the clues for the date and the background of the painting were all in the picture. Thus the process of confirming the actual view painted in the true-view landscape painting is one of the important works of verifying and complementing the significance of the true-view landscape painting on a more objective basis. This will also shed new light on the understanding of the current or disappearing scenery. Jeong Seon(鄭敾)’s true-view landscape painting of the west village is a valuable reference showing humanities, geography and history of the scenery and this is highly significant in the history of painting and the history of culture of the late Joseon period.

목차

Ⅰ. 머리말
 Ⅱ. 西村의 명소와 진경산수화
  1. 서촌의 명소와 장동팔경
  2. 명소와 상징경물의 표현
 Ⅲ. 西村의 실경과 진경산수화의 재조명
  1. 화화 공간과 실경의 비교 검토
  2. 編年과 기록의 재검토
 Ⅴ. 맺음말
 참고문헌
 ABSTRACT

키워드

진경산수화(眞景山水畵) 서촌(西村) 백악산 인왕산 정선(鄭敾) 장동팔경(狀洞八景) 인왕 제색도(仁王霽色圖) 인왕산도(仁王山圖) 필운상화(弼雲賞花) 세심대(洗心臺) 장안연우(長安烟雨) 육상묘도(毓祥廟圖) true-view landscape painting west village Baekak(白岳) Mountain Inwang(仁王) Mountain Jeong Seon(鄭敾) Jangdongpalgyeong(壯洞八景) Inwangjesaekdo(仁王霽色圖) Inwangsando(仁王山圖) Pilunsanghwa(弼雲賞花) Seshimdae(洗心臺) Janganyeonu(長安烟雨) Yuksangmyodo(毓祥廟圖)

저자

• 윤진영 [ Yun, Chin-yong | 한국학중앙연구원 선임연구원 ]

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