의재(毅齋) 허백련(許白鍊)의 남종화 연구

Abstract

The purpose of this paper is to identify the roots of the tradition of Huh Baekryun’s Namjonghwa as essentially derived from Tung Ch'i-ch'ang, and to examine the process by which Huh Baekryun’s artistic world was established and developed on this basis. Tung Ch'i-ch'ang’s South-North Dialectic divides the history of Chinese painting into the South and the North, and reveals the distinctive beauty of each artist. He considered Namjonghwa(Southern school of painting) to be a dignified and superior school of painting, distinct from Bukjonghwa(Northern school of painting). At the top of the traditionality expressed in Huh Baekryun’s artistic world, there was essentially Tung Ch'i-ch'ang. In fact, the theoretical foundation of Namjonghwa is the South-North Dialectic, so it is natural that Tung Ch'i-ch'ang would be at the top of the art world of Huh Baekryun, a Namjonghwa painter. However, Huh Baekryun has made it clear that his artistic world is deeply connected to the South-North Dialectic, and for this reason, his relationship with Tung Ch'i-ch'ang should be emphasized in the discussion of Huh Baekryun. In the margins of the painting, he wrote the painting theory of Tung Ch'i-ch'ang, which was presented by analyzing the South-North Dialectic, and indirectly revealed his ideals. He also pursued the formal beauty advocated by Tung Ch'i-ch'ang and painted according to the laws of Namjonghwa painters. In particular, Huh Baekryun made the same argument as Tung Ch'i-ch'ang’s about achieving change through law, and this is evident in his work. He did not just stay in tradition, but added his own style. Among them, Huh Baekryun’s representative work that best reveals the nature and atmosphere of the region is the rural landscape of Honam region. The rural landscapes he paints in Honam region are not just scenery, but the idealized world of Huh Baekryun.