산수화의 수파준법(수파준법) = Splashed Tsu'n (Expression of Water Wave) of Landscape Paintings
저자
한진만 (弘益大學校 美術大學)
발행기관
홍익대학교 산업디자인 연구소(Research Institute of Industrial Design HONG-IK UNIVERSITY)
학술지명
권호사항
발행연도
2004
작성언어
Korean
KDC
639.505
자료형태
학술저널
수록면
331-365(35쪽)
제공처
Water painted in the early stage of Oriental landscapes was that set characters and mountains off. As Oriental philosophers commented on the attribute of water, and landscape painters and art commentators presented the nature of water and its expression, the painting of water had become the center of interest.
Water passes off by evaporation heat, and the vapor composes the clouds. At last, it falls on the mountains and valleys with the forms of rain, and it again finds its way to the river and sea. Likewise, as to environment and climate, water vertically falls with the form of fall. Sometimes it forms bubble like surge and sometimes it flows leisurely along the streams. At times, it raises quickly due to a strong wind or it turns round like a whirlwind. Such forms and activities of water functions as the blood vessel of mountains, that invigorates to those.
Water is the sign of softness and strength; at the same time, it comes under a property that can be expressed through perceiving nature like the clouds and mist. Hereupon, as the expression technique of water wave has been diversified and materialized, it has been functioned as the expression of metalism. In addition, water has been commented its volume and color as to each season, and it has been recognized as a factor containing calmness and dynamic simultaneously. Water is also shifted its form to wave by the influence of wind, and shifted to the bubble of waterfall by itself; besides, it fill up the space of Original landscapes with the space of mentalism.
In order to properly represent the form of water, it should be painted in an instant after being painted its tip similar to the painting of literary men. In such a case, its fluidity can be rightly represented. Also, its shallowness, depth, dynamical nature, etc.; even handling of brush, i.e., softness and strongness, has been materialized.
As previously mentioned, various expression techniques of water waves have been presented, but it is incomplete compared with those of mountain. Thus, in this paper, I compared Korean expression technique of water waves with Chinese expression technique of those, and classified as follows:
First, whirlpool-shaped technique, second, ∧-shaped (triangle-shaped) technique, third, -shaped(wave-shaped) technique, forth, -shaped (thread skein-shaped) technique, fifth, short or long leveling technique, sixth, waveless technique, seventh, - shaped and -shaped technique as to upwards and downwards visual angles, eighth, C-shaped technique that represents the downstream of a valley, ninth, m and n-shaped (waterfall-shaped) technique. Besides, there are jar-shaped and palm-shaped wave technique that Jin Hong-soo, an artist who lived in the Ming Dynasty, showed in 「Japhwadochaekj」. The palm-shaped technique means the expression method that gradates the surroundings of waterfall. Jung Sun, an artist who lived in the Chosun Dynasty, represented m and n-shaped wave referring to the preceding technique; afterwards, Jo Jeong-gyu and Byun Gwan-shik applied the technique. And tenth, there is river and sea-wave technique mixed with C-shaped, spring-shaped and shoes-shaped techniques. It was represented by Mawon, an artist who lived in the Southern Song Dynasty, and it is being carried in 「Sonhgansangumdo」. Afterwards, the technique was somewhat changed by Jung Sun, Shim Sa-jung, Kim Hong?do, etc., artists who lived in the Chosun Dynasty. In addition, there are various other expression techniques of water waves, but the rest may be mentioned later.
Korean traditional landscape painters had been sometimes applied the creative expression techniques of water waves containing extreme tense atmosphere and formative arts, though they were influenced by Chinese painting. Jung Sun's river and sea and Hong Se-sup's wave painting based on bird's eye view are cases in point.
The water expression in Oriental landscape painting was originated from drawing the pattern of clouds. After that, it has been diversified by various painters and commentators.
Nevertheless, it has not been closely represented, because it is difficult to instantaneously capture the flow of water or its wave. For this why, creative representations should be more studied and produced, based on penetration on water.
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