李定稷의 《石亭佳墨》과 石印本 『芥子園畵傳』 (Lee Jeong-jik’s Seokjeonggamuk and Lithographic Printing Edition of The Mustard Seed Garden Manual of Painting)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 24호 / 137 ~ 161페이지
· 저자명 : 유순영

초록

This thesis is to introduce Seokjeonggamuk (石亭佳墨), an album painting of Lee Jeong-jik (李定稷, 1841~1910), who worked in North Jeolla Province of Korea at the end of the Joseon Dynasty. It also examines how this album paintings was made and investiages Lee’s works focusing on his paintings depicting oddly shaped rocks.
Lee Jeong-jik is not only a notable poet, writer, calligrapher, and educator, but also one of the representing scholars in Honam area, the region of North and South Jeolla Provinces. He established the prose in the classical literary style (古文) in Honam area. As an unparalleled calligrapher among the calligraphers active in the North Jeolla region during the second half of the 19th century, he contributed a great deal to form the school of Jeonbuk and implanted the literary painting tradition. In respect of subject,composition, and medium, his painting was influenced by Jang Seung-up (張承業,1843~1897), one of the greatest professional painters at the time. However, Lee painted wide range of subjects including Four Gentlemen (四君子), flowers (花卉), and oddly shaped rocks (怪石); especially he showed a remarkable ability in Four Gentlemen paintings. Although Lee is partially influenced by his contemporary literary painters, he is considered to pioneer his own literary paintings with his powerful brushwork and bold painting-techniques.
Seokjeonggamuk is the album, size of 31.4cm length and 21.7cm width,contains twenty-six paintings. The fourteen pages of this album, depict motives of mountain rocks (山石) forming various shapes of the mountains. The painting of rocks with holes (Taehoseok, 太湖石) cover six pages, and the rest are the paintings of the oddly shaped rocks. All the paintings, except three of them, contain the poems reciting the oddly shaped rocks and the writings on the painting styles-especially rock-painting styles (石法) and brush-stroke styles ( 法)-of the ancient Chinese painters such as Li Sixun (李思訓), Li Cheng (李成), and Huang Gong-wang (黃公望).
As a result of examining the paintings and writings in this album, it can be concluded that the twenty paintings, excluding the oddly shaped rock paintings, copied Jieziyuan huazhuan (芥子園畵傳, The Mustard Seed Garden Manual of Painting).
However, these are not referring to the edition of woodblock printing in 1679(the 1st edition) or 1701(the 2nd & 3rd edition). The paintings copied after the printing edition of 1888, newly printed by Hongmun Publisher (鴻文書局) in Shanghai at that time, or editions afterward. In the edition of 1888, many of new illustrations were added, and the scene of the rocks with holes in Lee’s album is originated from this edition. Even though Lee’s album is the copy of the illustration book, Lee’s characteristic style in brushwork is alive in paintings, and the fact that Lee edited the writings with his own view is also noteworthy.
For Lee, copying after the book was not only to learn the techniques in paintings, but fundamentally to practice his idea on the paintings and writings. He defined‘ancients (古)’as the standard and legitimacy of all, and emphasized the necessity of making every effort to achieve it. It is from the idea that the stage of creation (創新) can only be reached through the solid foundation of the ancient styles (古法).
Thus, copying the illustration book, which works as the standard for the ancients in paintings, is a part of constant practice after ancient styles (古法修鍊).
About thirty of Lee’s oddly shaped rock paintings are remained, including six from Seokjeonggamuk. Eight-panel folding screens and ten-panel folding screens are considered to be his best works. While the former one shows somewhat exaggerated shape and delicate brushwork, simple shape and bold, skillful brushwork stand out in the latter one. Boasting a beauty of simple shape and skilful brushwork style, an oddly shaped painting in Seokjeonggamuk is reminiscent of the elegant landscape painting.
With its significance as a research material, Seokjeonggamuk displays a origin of how Lee could educated himself the key factor in the paintings. It also has its importance in regard to the acceptance and distribution of lithographic printing edition of Jieziyuan huazhuan. Lee, Jeong-jik is recently recognized as one of the important literary painters active at the end of Joseon dynasty.

영어초록

This thesis is to introduce Seokjeonggamuk (石亭佳墨), an album painting of Lee Jeong-jik (李定稷, 1841~1910), who worked in North Jeolla Province of Korea at the end of the Joseon Dynasty. It also examines how this album paintings was made and investiages Lee’s works focusing on his paintings depicting oddly shaped rocks.
Lee Jeong-jik is not only a notable poet, writer, calligrapher, and educator, but also one of the representing scholars in Honam area, the region of North and South Jeolla Provinces. He established the prose in the classical literary style (古文) in Honam area. As an unparalleled calligrapher among the calligraphers active in the North Jeolla region during the second half of the 19th century, he contributed a great deal to form the school of Jeonbuk and implanted the literary painting tradition. In respect of subject,composition, and medium, his painting was influenced by Jang Seung-up (張承業,1843~1897), one of the greatest professional painters at the time. However, Lee painted wide range of subjects including Four Gentlemen (四君子), flowers (花卉), and oddly shaped rocks (怪石); especially he showed a remarkable ability in Four Gentlemen paintings. Although Lee is partially influenced by his contemporary literary painters, he is considered to pioneer his own literary paintings with his powerful brushwork and bold painting-techniques.
Seokjeonggamuk is the album, size of 31.4cm length and 21.7cm width,contains twenty-six paintings. The fourteen pages of this album, depict motives of mountain rocks (山石) forming various shapes of the mountains. The painting of rocks with holes (Taehoseok, 太湖石) cover six pages, and the rest are the paintings of the oddly shaped rocks. All the paintings, except three of them, contain the poems reciting the oddly shaped rocks and the writings on the painting styles-especially rock-painting styles (石法) and brush-stroke styles ( 法)-of the ancient Chinese painters such as Li Sixun (李思訓), Li Cheng (李成), and Huang Gong-wang (黃公望).
As a result of examining the paintings and writings in this album, it can be concluded that the twenty paintings, excluding the oddly shaped rock paintings, copied Jieziyuan huazhuan (芥子園畵傳, The Mustard Seed Garden Manual of Painting).
However, these are not referring to the edition of woodblock printing in 1679(the 1st edition) or 1701(the 2nd & 3rd edition). The paintings copied after the printing edition of 1888, newly printed by Hongmun Publisher (鴻文書局) in Shanghai at that time, or editions afterward. In the edition of 1888, many of new illustrations were added, and the scene of the rocks with holes in Lee’s album is originated from this edition. Even though Lee’s album is the copy of the illustration book, Lee’s characteristic style in brushwork is alive in paintings, and the fact that Lee edited the writings with his own view is also noteworthy.
For Lee, copying after the book was not only to learn the techniques in paintings, but fundamentally to practice his idea on the paintings and writings. He defined‘ancients (古)’as the standard and legitimacy of all, and emphasized the necessity of making every effort to achieve it. It is from the idea that the stage of creation (創新) can only be reached through the solid foundation of the ancient styles (古法).
Thus, copying the illustration book, which works as the standard for the ancients in paintings, is a part of constant practice after ancient styles (古法修鍊).
About thirty of Lee’s oddly shaped rock paintings are remained, including six from Seokjeonggamuk. Eight-panel folding screens and ten-panel folding screens are considered to be his best works. While the former one shows somewhat exaggerated shape and delicate brushwork, simple shape and bold, skillful brushwork stand out in the latter one. Boasting a beauty of simple shape and skilful brushwork style, an oddly shaped painting in Seokjeonggamuk is reminiscent of the elegant landscape painting.
With its significance as a research material, Seokjeonggamuk displays a origin of how Lee could educated himself the key factor in the paintings. It also has its importance in regard to the acceptance and distribution of lithographic printing edition of Jieziyuan huazhuan. Lee, Jeong-jik is recently recognized as one of the important literary painters active at the end of Joseon dynasty.

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