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션위룽(沈裕融),문정희(번역자) 한국미술연구소 2017 美術史論壇 Vol.- No.44
This study is hoped to point out the fact that an image in its initial stage (during ancient Greek era) didn’t necessarily have anything to do with the concept, “realityfalse”. On the contrary, an image has everything to do with “sacred- worldly” via an image’s dual functions, Eidôlon and Eikôn. The interpretation regarding the nature of an image has immensely and profoundly inf luenced not only the art history development in the west (ex. photography and movies) but also religions (ex. The conf licts between image-worshiping and image-vandalizing taking place during the Byzantine Empire period around 8th -9th century) and the evolution of philosophical being (from the recognition of images in the ancient Greek time to Plato’s critics elucidating that images couldn’t reflect one’s existence but other way around). Hence, via exploring the documented meanings of these two words, eidolon and eikôn, it’s our attempt to gradually clear up the blurry areas along the way to understand how an image transformed its initial symbolic function as an “idol”, eidôlon, to an “statue”, the public, visible and existing functions of eikôn. Although both were served to demonstrate the sacred manifestation in the holy world, there was still a fundamental difference setting them apart. “Idol”, owned or dominated by a limited few most of the time, was a mere substitute for the holy spirits while an “image” exhibits “visible” miraculous evidence, such as” the pictures of God”. The latter externalized the process to attract and seize the public’s “visible” attention and allow the “existence” to take place. This specific “publicity” in an “image” has then become the origin of “universality” and “generality” scrutinized in the philosophy studies.
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스서우첸(石守謙),문정희(번역자) 한국미술연구소 2008 美術史論壇 Vol.- No.26
중국 역사에서 가장 오랫동안 사랑받아 온 이미지를 꼽자면, 曹植이 지은 詩篇 『洛神賦』에 王獻之의 書法과 顧愷之의 회화가 결합한 예술형식이 가장 전형적이라고 할 수 있다. 이러한 형상은 후세에 전승되는 과정에서 각각 세 개의 형식이 서로 유기적인 방식으로 결합되어 있어 창작자와 감상자와의 관계에서 발생하는 여타 현상을 일깨워 주고 있다. 따라서 창작품이란 시대에 따른 새로운 해석을 의미하고 있을 뿐만 아니라, 다음 세대에 일어날 재해석의 대상이 되기도 한다. 본문에서는 먼저 12세기 당시 〈낙신부〉의 전통을 재현시키고자 기획한 노력에 대해 논하고자 한다. 송 휘종은 왕헌지가 쓴〈洛神十三行〉을 石刻으로 전하고 있고, 아울러 친히 臨寫하여 만천하에 알리고 있다. 현존하는 세 개 본 중 가장 오래된 〈洛神賦圖卷〉은 고개지의 손에서 나왔다고 하지만 이 또한 송대 궁정에서 제작된 것이다. 그러나 〈낙신십삼행〉에서 표현된 文雅한 세계와 달리 그림은 일종의 오래된 도상과 함께 당시의 奇想적인 분위기가 혼합되어 재현된 것이다. 이는 12세기의 그림을 기초로 한 것이라고 한다면, 14세기 衛九鼎과 倪瓚이 함께 만들어낸 낙신은 또 다른 종류의 絶俗적인 여신에 초점을 맞춰 새롭게 해석한 것이다. 이렇게 제조된 형상은 16세기 蘇州에서 고도로 상업화된 사회 속에서 또 다시 仇英의 필 아래 嬌媚한 美人으로 변하게 된다. 18세기에 들어와 乾隆帝가 이 그림을 수장한 후 改裝은 계속되었고, 아울러 궁정화가 丁觀鵬은 황제의 명령에 따라 改修와 摹本 작업을 이루어 내었다. 〈낙선부도〉를 역사 발전의 원점으로 돌려놓는 황제의 이러한 행위는 ‘主題傳統’이라는 범례로 볼 수 있는데, 이는 ‘大家傳統’과 비교해서 中國畵史에서 매우 중요한 위치를 차지한다. As one of the most popular female figure image in the Chinese art history, "Luoshen" not only refers to Cao Zhi's poem, but also includes Wang Xianzhi's calligraphic and Gu Kaizhi's pictorial creations inspired by the poem. Numerous works have been created through responding to this collective image, each representing a distinctive interpretation of its own time, and serving as the foundation for future re-interpretations. This paper stasts with a discussion of efforts trying to reestablish the "Luoshen" tradition in the 12th century. Besides Emperor Huitsong's enfraving Wang Xianzhi's "Luoshen" on a stele, Song court painters' recreating Gu Kaizhi's illustration is also remarkable. Their "Luoshenfu tu", judging from the three versions still extant today, reveals an emphasis on fantastic elements of the text and a preference on applying their own inagination to create archaic images. Unlike the 12th century interpretation, Wei Jiudong and Ni Tsan from the chaotic 14th century collaboratively represented the "Luoshen" as a purified, idealized goddess, while Qiu yin from Suzhou of the 16th century transformed the goddess into a secula beauty responding to the taste of its highly commercialized society. When "Luoshenfu tu" entered the imperial collection in the 18th century, Emperor Qianlong not only had it assertively remounted, but also commissioned his court painter Ding Guanpeng to make a "copy", but following his revisionist directions. Its result is a demonstration of the emperor's dominant attitude toward d1e past "Luoshen" tradition. The historical development of "Luoshen" can also be considered as one the best examples representing the shaping process of the "thematic tradition". Compared with the "master tradition", the "thematic tradition" very often plays a more Significant role in d1e painting history of China.
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보송녠(薄松年),문정희(번역자) 한국미술연구소 2007 美術史論壇 Vol.- No.24
年畵는 중국 민간예술 분야에서 매우 중요한 장르로서, 경축 명절의 민속풍습에 따른 창작품이다. 특히 음력 섣달그믐에 연화를 붙이는 일 또한 민속활동 중의 하나라고 할 만하다. 연화의 題材는 吉祥적이며 艶麗한 양식을 지닌 장식성이 강한 것으로, 보다 나은 생활을 추구하는 민중의 바램과 이상을 반영하고 있다. 아울러 표현상 낭만주의 색채를 띠고 있는 연화는 제작자들 대부분이 민간 화공들로서 중국 고유미술에서 가장 군중과 가까운 장르라고 할 수 있다. 연화의 역사는 유구한데 가장 늦어도 약 2000년 전인 先秦시대까지 올라간다. 처음 벽 사용으로 그린 門神으로 시작해서, 훗날 시대적 발전에 따라 더욱 더 祈福 吉慶한 내용을 담고 있고, 그 제재 역시 풍속, 희곡, 미녀, 어린 아이 등으로 확대되어 왔다. 연화 제작 초기에는 모두 육필로 그리다가, 北宋시기에 들어와 板을 칼로 판 후 인쇄하는 기술을 사용하여 제작되기 시작하면서 대대적인 보급과 함께 질적 수준에 가속이 붙게 되었다. 그러나 明代 이전의 연화 대부분은 단지 먹선을 인쇄한 초고에 불과했고, 여전히 사람의 손으로 채색을 해야만 했다. 明代 중기에 와서 채색의 套色기술이 발달되면서 저렴한 가격의 화려한 채색연화가 제작되었고, 이는 연화를 대량으로 보급하면서 막대한 이익이 생겨 농촌시장으로까지 확대되었던 것이다. 이후 계속해서 전국 각지에 연화 제작 중심 산지가 생겨나 번영의 절정을 맞게 되었다. 이 중 가장 유명한 산지로 '南桃北柳', 즉 북방 天津의 楊柳靑과 강남 蘇州의 桃花塢를 들 수 있는데, 이들 각각 남북의 두 지역은 판화로 제작된 연화 중심지로 성장했다. 淸代 양류칭 연화는 중국에서 가장 정밀하고 아름다운 세계를 다양한 제재를 통해 뛰어난 제작기술로 보여줌으로써 중국회화사에 있어서 상당한 위상을 지니고 있다. Nianhua is a major genre of Chinese folk art. Nianhua are works created according to the customs of traditional Chinese holidays. Pasting nianhua on walls on the 31<SUP>st</SUP> day of the lunar month of December, for instance, is a popular custom in China. Nianhua commonly feature auspicious motifs, and are generally brilliant paintings with a highly ornamental tendency, as they are expressions of simple folks' desire for a better life and the ideals they have of a prosperous life. Nianhua with a strong romantic bent are most often works by painters belonging to lower social classes; one more reason which makes this genre of traditional Chinese art the one most closely rooted in the life of the masses. The emergence of nianhua dates back at least 2000 years, and this is on the conservative side. Menshen, the earliest form of nianhua, evolved over time into true nianhua, as they dealt more and more with auspicious subjects and the thematic scope was gradually extended to include customs and mores, drama, female beauty and children. Nianhua, initially painted with a brush, were printed from woodcuts starting from the North Song Dynasty. As printing techniques enabled the mass-distribution of nianhua, this, in turn, accelerated the qualitative improvement of nianhua works. However, printed nianhua from periods prior to the Ming Dynasty contained only black ink contours, which had to be finished by manual coloring. The progress in color printing techniques, seen toward the mid-Ming Dynasty, made it possible to cheaply produce brilliantly-colored nianhua. The capability of mass-production and distribution made nianhua a highly profitable industry, and spawned nianhua markers even in rural communities. New nianhua production centers mushroomed across China, ushering in a golden age for this genre. The most famous centers for the production of nianhua were Yangliuqing of Tianjin in northern China, and Taohuawu of Suzhou in southern China. These two towns were the largest providers of woodcut nianhua serving the northern and southern halves of China.
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린쑤싱(林素幸),문정희(번역자) 한국미술연구소 2020 美術史論壇 Vol.- No.50
The issues, such as cultural identity and transformation, have been the crucial topics of the studies of contemporary Taiwanese art. The rule of the Japanese end in 1945 when Japan was defeated in the second Sino-Japanese War, which not only brought an end to that country’s colonial rule over Taiwan, but also ended the Taiwan fine arts movement as driven by the Japanese. The period after 1949 marked an enormous transformation in the arts of the island; this change was not an intrinsic one, but was rather the result of political transition. After the Nationalist government lost the Mainland and withdrew to Taiwan in 1949, anti-Japanese and anti-Communist sentiment prevailed in this island. The government’s objective such as eradicating the ideological reforms waged by the Japanese government exerted a great influence on the development of education and art in Taiwan. Culture and arts that were used to maintain the values, attitudes, and sense of reality from one generation to another and therefore were regarded as effective tools in influencing the people’s minds. The purpose of this paper is to investigate how the review committees of the Taiwan Provincial Fine Arts Exhibition, such as Huang Chun Pi and Fu Juan Fu, influenced the exhibition between 1950s and 1970s, and what kind of subject matters were most popular. This study will help us understand how an artist adjust himself to the new environment by employing particular subject matters or techniques, and give us a different perspective on the modern art history of Taiwan.
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