19세기 京華世族의 學藝性向과 實景圖 향유 양상: 洪奭周와 韓章錫 가문을 중심으로 (An Artistic Tendency Shown in the Real Scenery Paintings Possessed by Capital-based Aristocrats in the 19th Century: Hong Seokju's and Han Jangseok's Families)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 38호 / 159 ~ 190페이지
· 저자명 : 박정애

초록

The capital-based aristocracy played a leading role in 19th-century Joseon society. Among them, two extended families, the Hong clan of Pungsan and the Han clan of Cheongju, were closely connected by both marital and academic ties. When Han Pil-gyo became the son-in-law of Hong Seok-ju (1774~1842), literati in the newly-connected families began sharing academic and artist tendencies. Han Jang-seok (1832~1894), in particular, was widely recognized as the academic heir of his maternal grandfather, Hong Seok-ju. The large book collection of the three Hong brothers included a variety of contents related to calligraphy and painting. Hong Seok-ju, aware of the utility of calligraphy and painting, used works that he had produced himself as teaching materials. Hong Hyeon-ju, Seok-juÊs younger brother and a son-in-law of the king, was a particularly enthusiastic collector of books, calligraphy, paintings and antiques. The Hong family used Ming and Qing landscape prints for appreciating scenic spots in China, and also owned paintings of Mt. Geumgang, which became fashionable in the 18th century.
Han Pil-gyo and his son Jang-seok, who had easy access to the Hong familyÊs books and artwork collection, were not particularly active as collectors of calligraphic paintings and antique items. Their own art collection was weighted towards paintings of a didactic nature, revealing their conservative tastes in art. But Han Pil-gyo and his son were also leading producers of real scenery landscape paintings related to their official life. Han Pil-gyo created Sukcheon jea-do (宿踐諸衙圖: Illustrations of My Places of Work), a collection of maps and paintings of official buildings in the counties to which he had been posted as an official, while Han Jang-seok produced poetry and painting albums and painted folding screens depicting scenic spots in Pyeongan Province, where he had been posted during his official career. Han Jang-seok also commissioned and produced several pictures of scenic spots in Hamgyeong Province while serving as provincial governor there. Han Pil-gyo and his son perceived real scenery paintings as vehicles for the pastime of wayu (臥遊: armchair sightseeing) and as records for conveying their profile to future generations.
19th-century capital-based aristocrats thus used a variety of visual materials, in addition to painting itself, for appreciating and consuming real scenery images. These included print illustrations in books, and maps. After the 18th century, this recreational trend became established among provincial officials, and literati-officials began using real scenery paintings and maps as personal souvenirs. The families of Hong Seok-ju and Han Jang-seok can be regarded as prominent capital-based aristocrats in the development of this trend.

영어초록

The capital-based aristocracy played a leading role in 19th-century Joseon society. Among them, two extended families, the Hong clan of Pungsan and the Han clan of Cheongju, were closely connected by both marital and academic ties. When Han Pil-gyo became the son-in-law of Hong Seok-ju (1774~1842), literati in the newly-connected families began sharing academic and artist tendencies. Han Jang-seok (1832~1894), in particular, was widely recognized as the academic heir of his maternal grandfather, Hong Seok-ju. The large book collection of the three Hong brothers included a variety of contents related to calligraphy and painting. Hong Seok-ju, aware of the utility of calligraphy and painting, used works that he had produced himself as teaching materials. Hong Hyeon-ju, Seok-juÊs younger brother and a son-in-law of the king, was a particularly enthusiastic collector of books, calligraphy, paintings and antiques. The Hong family used Ming and Qing landscape prints for appreciating scenic spots in China, and also owned paintings of Mt. Geumgang, which became fashionable in the 18th century.
Han Pil-gyo and his son Jang-seok, who had easy access to the Hong familyÊs books and artwork collection, were not particularly active as collectors of calligraphic paintings and antique items. Their own art collection was weighted towards paintings of a didactic nature, revealing their conservative tastes in art. But Han Pil-gyo and his son were also leading producers of real scenery landscape paintings related to their official life. Han Pil-gyo created Sukcheon jea-do (宿踐諸衙圖: Illustrations of My Places of Work), a collection of maps and paintings of official buildings in the counties to which he had been posted as an official, while Han Jang-seok produced poetry and painting albums and painted folding screens depicting scenic spots in Pyeongan Province, where he had been posted during his official career. Han Jang-seok also commissioned and produced several pictures of scenic spots in Hamgyeong Province while serving as provincial governor there. Han Pil-gyo and his son perceived real scenery paintings as vehicles for the pastime of wayu (臥遊: armchair sightseeing) and as records for conveying their profile to future generations.
19th-century capital-based aristocrats thus used a variety of visual materials, in addition to painting itself, for appreciating and consuming real scenery images. These included print illustrations in books, and maps. After the 18th century, this recreational trend became established among provincial officials, and literati-officials began using real scenery paintings and maps as personal souvenirs. The families of Hong Seok-ju and Han Jang-seok can be regarded as prominent capital-based aristocrats in the development of this trend.

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