KCI등재
장언원과 『역대명화기』 및 그의 보수주적 회화론 = Zhang Yan Yuan and Li Tai Ming Hua Ji, His Conservative Art Theory
저자
발행기관
한국미학예술학회(The Korean Society of Aesthetics and Science of Art)
학술지명
권호사항
발행연도
2006
작성언어
-주제어
KDC
600
등재정보
KCI등재
자료형태
학술저널
발행기관 URL
수록면
187-216(30쪽)
제공처
Zhang Yan Yuan was a hereditary nobility descendant that had flourished for the past six-dynasties. His family had been a high political aide to the Tang for three generations. The house that had been passed down for five generations had neither gone under expansion nor renovations, symbolizing the wealth of the family. The numerous priceless artifacts within the house equaled those within the imperial palace. But with the emergence of the Cheng Tang, the strengthening of the newly emerging high official, who used to be middle landlords, gradually stood off with the hereditary nobility in the Zhong Tang. Consequently, The nobility weakened significantly. In addition the reason for losing the family`s acquisition of painting and calligraphy was eunuchs who gain the power by alienating the high official and the hereditary nobility. This became a reason for him to write Li Tai Ming Hua Ji and affected his view of the history of art and theory of art. There are various art thought in Li Tai Ming Hua Ji. This is because he lived in a period of transition in art theory and accepted the before and after`s art theories. Here what is his principal art theory is problem because this make a difference in social position of him clear. But there are not the preface proved it in the extant Li Tai Ming Hua Ji. Many art theorists argued where is the preface in Li Tai Ming Hua Ji. Now synthesised them, we can see that the description about the source of art and the description about the rise and fall in arts in the first volume corresponded to it. Zhang Yan Yuan insisted on two element of art`s definition in the preface of Li Tai Ming Hua Ji. One is that the principal of nature is pursued in art worts, the other is that art works have to be preceptive. First, the art work have to both depict the visible form and the principal of nature not seen, this is, both Shen si and Xing si. Therefore, Zhang Yan Yuan insisted that a painting is superior to literature not described the form, and applied the combination of Shen si and Xing si to his view of the art history. His view of the history of art was very skeptical about the changes at that time as he had respect for tradition and disdained the customs of the time with regard to the entire stream of the history of painting. He also criticized that there was no Qi Yun but Xing si in the paintings of the time by pointing out the trend in which the outer beauty of objects Xing si was exalted rather then Qi Yaun. He stated that the time of perfect Sang Gu was the Wei Jin when both Qi Yun and Xing Si were combined. We can see this in Yi Pin style of painting in the Cheng Tang. Despite the fact that he evaluated Zi Ran as the best level and regarded painting as the pursuit of Zi Ran he considered the paintings of Yi Pin style pursuing Zi ran not to be paintings. The reason for this was that according to his attitude towards tradition and the customs of the day there was only stain of Chinese ink without Yong Bi in those paintings. He took a very pessimistic view of the time, which caused him even not to classify the painters living after the Zhong Tang in respect to painters. Second, Zhang Yan Yuan insitied on the confucian preceptive theory in art and applied it to a figure painting. A landscape painting and a painting of flowers and birds already were developed in his period, and the individual expression in a figure painting were emphasized. In spited of it, that he insisted on the ancient preceptive figure painting shows his conservative view of art. Therefore, when we synthetically see the rise and fall of garnered paintings and calligraphies, the definition of art and the conservative view of art in the preface of Li Tai Ming Hua Ji, the confucian preceptive theory in art and the insist on a figure painting, Zhang Yan Yuan is clearly placed in his hereditary nobility.
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