추사 김정희의 예술론과 『난맹첩』

Abstract

Chu-sa Kim Jeong Hee is a calligrapher and painter who played active part in mid-19th century. He not only created his own chirographic style but also had positive impact on the paintings of the day. Particularly he expressed chirographic formalities, which were classic characteristics of Munin (literary artist) painting through Mukran (Ink Orchids) painting style, emphasizing the beauty of highly advanced ideology. To understand his Mukran painting, it was better to look into ‘Nanmaengcheop (album)’ which well represents the origin and secrets of his Nanbeop (Orchid drawing style) because it could tell the composition and characteristics of Chu-sa’s Mukran painting and whether the album materialized the spirit of his arts. First, Mukran painting of Chosun Dynasty was originally painted by Cho Maeng Kyun (the late Southern Song Dynasty), Jeong Sa Cho, Cho Maeng Bu and Seol Chang (all in Won Dynasty). And later in Myung Dynasty, Mun Jing Myung’s Mukran painting (style) was handed down to Jeong Seop and Na Bing’s Mukran style in Cheong Dynasty. Mukran painting could be seen in mid-Chosun period, at earliest and in the late period, a painting style of Cheong dynasty mainly influenced by Namjong (the Southern School) painting style was taught to Kang Sei Whang, Lee Hee Ji, and Kim Jeong Hee, which means the painting (Mukran) developed into more diverse styles. The artistic spirit of Kim Jeong Hee was the representation of the beauty of very abstruse ideology based on the ideology of the harmonized poem, penmanship and painting. So it reflects the bibliographical study on Cheong Dynasty. Judging from his works in Munmaengcheop, Chu-sa Kim Jeong Hee whose painting style adopted the habit of literary man who would harmonize poem, calligraphy, and painting, pursued Munin painting style, such as Munjahyang and Seokwonki, that weighs more on spiritual meaning than technical skills ‘Nanmaecheop’ was made of the calligraphic paintings of Kim Jeong Hee who first reviewed many old paintings of Cheong Dynasty, founded Mukran painting style and then created his own orchid painting style. ‘Nanmaengcheop’ has the characteristics of his unique spatial arrangement and sense. In addition, every corner of the orchid calligraphic paintings (Mukran paintings) reflects his calligraphic techniques and mastery. Therefore this album contains the representative Mukran paintings of his. The name of the album ‘Nanmaecheop’ can have many compound meanings. First of all, it tells the basic promise that orchid must be painted in the way. Second, it means unanimous resolute. The collection consists of 23 paintings (10 10” and 6 6” Mukran paintings and 7 postscripts) and is divided into the first and second volume. It can be characterized as no difference in the depth of darkness in painting Mukran painting, which reflects the adhesion to the calligraphic strokes. When and why it was made isn’t clear but it is assumed that the album was created between 48 – right before he was exiled to Cheju Island- and 51. Judging from the sentence on the last page of the first volume ‘this vulgar person painted for Myung Hun’ the motive of the album is that he introduced woman painters to Myung Hun and painted for them. The period of the album composition can be trace back by 33 stamps imprinted on the right bottom of the postscript of the first page of the first volume postscripts of which 2 stamps were not Kim Jeong Hee’s but Yoo Jae So’s. It allows us to know that Yoo Jae So possessed the album. So, it seems that the time (Yoo Jae So’s possession of the album) was when the ‘Nanmaengcheop’ had the current shape. Through ‘Nammaengcheop’ his art theory was reviewed of the harmonization of poem, calligraphy and painting, and Munjahyang and Seokwonki. Also the album demonstrates his skillfulness that supports his unique and splendid sense of formation. His skill and technique get cross over the boundaries of poem, calligraphy, and painting but stick to standard method. In addition, his painting style had a great impact on post-generations. Cho Hee Kyung, Lee Ha Ung and Min Young Ik were influenced by Kim Jeong’s Mukran painting style and developed it into more diverse ways and established their own styles. They created a great sensation in the painting curdles of the time. Therefore we can say Kim Jeong Hee’s impact lasted to the modern painting society. Therefore, Kim Jeong Hee’s ‘Nanmaengcheop’, along with Chu-sa calligraphic style, can be said as the collection of works that display his artistic orientation most specifically.