朝鮮 後期 關西名勝圖 연구

국문 초록 (Abstract)

關西名勝圖는 關西地方, 즉 平安道의 명승을 그린 實景山水畵이다. 그동안 실경산수화에 대한 연구가 상당히 진전되었으나 관서명승도는 그다지 주목받지 못했다. 관서 관련 화적은 平壤만을 다룬 작품이 가장 많지만, 이 글에서는 여러 폭이 한 벌을 이루는 조선 후기 관서명승도에 집중하였다.
조선시대 평안도는 중국과의 접경지대로서 군사와 외교 면에서 특히 중요하였다. 또 使臣들의 노정 인근에 분포한 名勝名所는 文學과 美術의 제재가 되었다. 문헌기록을 통해 15세기 후반-16세기 초에는 관서지역의 거점인 평양명승이 알려졌고 이어서 그림으로도 그려졌음이 확인되었다. 16세기 중반 明宗代 이후에는 瀨翁 李楨(1578-1607)의 傳稱作《關西名區帖》처럼 평양 외의 지역도 화폭에 수렴되었다. 金昌翕(1653-1722)의 「關西日記」나 正祖(재위 1776-1800)의 詩「題關西地圖」는 18세기 들어 진경산수화가 유행하면서 관서명승도가 정형화되는 양상과 연관되는 사료이다.
작화대상과 구성, 화풍이 유사한 일군의 관서명승도는 작자미상의 개인 소장 《關西名勝帖》유형으로 분류할 수 있다. 개인 소장 《관서명구첩》과 국립중앙박물관의 《關西十景圖》는 화면의 크기까지 거의 같아서 정형화된 양태를 잘 보여준다. 그리고 영국도서관 소장 《韓中名勝圖帖》과 서울역사박물관의 《關西八景圖帖》은 《관서명구첩》유형이 저변화된 양상을 반영한다. 이 유형에 적용된 양식은 18세기 말 畵員畵風이 대세를 이루는데, 南宗畵法과 함께 地圖와 版畵의 표현법도 파악되며 檀園 金弘道(1745-1806 이후) 화풍의 특징이 두드러진다. 그러나 개인 소장본의 ‘馥軒’이 해명되지 않았고 국립중앙박물관본의 김홍도 인장이 後落으로 의심되어 작자에 대한 최종 판단은 유보할 수 밖에 없다.
다만 화풍과 인장을 토대로 《관서명구첩》유형의 제작시기와 화가를 추론해봄으로써 앞으로의 연구에 실마리로 삼고자 했다. 김홍도는 1789년 冬至使行을 계기로 관서지역을 방문한 바 있다. 또 정조에게 주청하여 김홍도를 자신의 군관자격으로 동행시켰던 湖隱 李性源(1725-1790)은 平安道觀察使를 지낸 적이 있어 당시 관서명승도를 주문했을 개연성이 있다. 《관서십경도》에 찍힌 ‘貞敬夫人申氏’라는 인장이 이성원 부인의 작호와 일치하는 것도 그의 집안과 연계되는 자취이다. 따라서 현재 전하는 작품들을 김홍도가 그렸다고 확단하긴 어렵지만, 18세기 말 김홍도에 의해 정형화된 저본에서 파생했을 가능성은 충분하다고 생각된다.

다국어 초록 (Multilingual Abstract)

Paintings of scenic spots of Gwanseo (關西名勝圖) depict the scenic beauty of Pyeongan province. Over the past couple of years there has been considerable progress in the study of Korean true-view landscape paintings, but paintings of scenic spots in Gwanseo area have not attracted much attention. Actually, the majority of paintings of scenes from this area illustrate only the views of Pyongyang city, But this author deals with paintings depicted widely the beauty spots of Gwanseo in this article.
During the Joseon Dynasty Pyeongan province was bordering with China and it was therefore a very important area from a military and diplomatic viewpoint. Moreover, as envoys of China and Joseon passed through this province, the well-known scenes of beauty which were located on their route became subjects of arts and literature. According to documentary records, some scenic spots in Pyeongyang City were known in the latter half of the 15th century and the early 16th century, and it is known that they were also painted. From the mid-16th century onwards, other scenes from Gwanseo area were also painted, as exemplified in an album titled Album of Famous Spots of Gwanseo (關西名區帖), attributed to Yi Jeong (1578-1607). Writings such as the Dairy of Ganseo (關西日記) by Kim Chang heup (1653-1722) and the Colophon on Gwanseo Map (題關西地圖) by King Jeongjo (r. 1776-1800) helped bring focus to scenic spots in Gwanseo. As a result, when true-view landscape paintings became popular in the 18th century, well-known beauty spots from this area had already become standardized.
A number of the paintings of Gwanseo sceneries with similar subject matters, composition and style can be classified as a type of Album of Famous Spots of Gwanseo. The anonymous album now in a private collection, and Ten Scenic Spots of Gwanseo (關西十景圖) kept at the National Museum of Korea are almost identical, even in their size, thus highlighting the standardization of such types of paintings.
The Album of Scenic Spots in Korea and China (韓中名勝圖帖) kept at the British Library in London and the Album of Eight Scenic Spots of Gwanseo (關西八景圖帖) housed in the Seoul Museum of History show broad expansion of the genre. The painting style of these albums shows strong characteristics of the style of Southern school painting as well as court paintings of the end of the 18th century, in particular maps and woodblock prints. At the same time we can see characteristics of the painting style of Kim Hong-do (1745-after 1806). The album in the private collection bears a signature of Bokheon (馥軒) though the identity of the painter is still unclear. The painting in the National Museum of Korea bears a seal of Kim Hong-do but it is possible it was added at a later date. We should reserved final judgment on the identities of the painters for these reasons.
This author has attempted to find further ways of studying the paintings based on painting styles and seals. Kim Hong-do visited the Gwanseo area through the occasion of an winter solstice embassy to China which took place in 1789. At that time Yi Seong-won (1725-1790) who allowed Kim Hong-do’s participation in that embassy as qualification for his military escort is recorded as having been a provincial governor of Pyeongnan Province. Therefore there is a possibility that he ordered a painting of Gwanseo area at that time. Besides, a seal called "Jeonggyeoingbuin Sinssy" (貞敬夫人申氏) of the Ten Scenic Spots of Gwanseo is identical to the peerage of the wife of Yi Seong-won. Although it is difficult to say that? works handed down to us now were painted by Kim Hong-do, it is possible that these types of works were painted with reference to the paintings of Gwanseo area which were standardized by Kim Hong do during the end of the 18th century.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 朝鮮時代 關西名勝圖의 제작배경과 양상
• Ⅲ. 朝鮮 後期 關西名勝圖의 내용과 양식
• Ⅳ. 《關西名區帖》유형의 제작시기와 화가에 대한 추론
• Ⅴ. 맺음말
• 국문초록
• Abstract