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종가의 공간읽기와 스토리텔링 전략 - 해남 녹우당 권역을 중심으로
정경운 인문사회 21 2017 인문사회 21 Vol.8 No.6
There has not been an improvement in the preservation of the houses of head families and the modernization of head family culture in Jeonnam region, compared to other regions. However, as Jeonnam head family revitalization project has started as part of the recently launched 'Namdo Culture Renaissance' project, the head families are facing a moment of change. Nogudang of Haenam Yun family is at the center of this change leading the ‘Jeonnam Head Family Society,’ and it is in the process of establishing a cultural foundation. This study aims to make a few suggestions related to space in Nogudang in which various plans will be carried out along with the establishment of the foundation. To this end, this study first read spatial symbols to derive the sense of place of Nogudang area (including Yeondong village) based on the tangible and intangible assets of Haenam Yun family. There are three major spatial symbols: ‘virtue’, ‘learning and art’, and ‘harmony’. Considering these three spatial symbols and various spatial resources currently present in Yeondong Village, this study classified Nogudang area into three gardens (a garden for virtue, a garden for learning and art, and a garden for rest), and proposed spatial strategies that can strengthen the story concepts of the three gardens. 전남지역의 종가들은 다른 지역에 비해 종택 보존이나 종가문화의 현재화 작업이 미비한 상황이었다. 그런데 최근 시작된 ‘남도문화 르네상스’ 프로젝트 일환으로, 전남종가 활성화 사업이 출발하면서 변화의 시점을 맞이하고 있다. 해남윤씨 가문의녹우당은 이 변화의 중심에 서서 ‘전남종가회’를 이끌고 있으며, 문화재단 설립을 앞두고있는 상황이다. 이 글은 재단 설립과 함께 다양한 계획을 시도할 녹우당에 공간과 관련된몇 가지 제안을 하는 것으로 목적으로 한다. 이를 위해 해남윤씨 가문의 유・무형적 자산을 기반으로 녹우당 권역(연동마을 포함)의 장소성 도출을 위한 공간기호를 읽어냈다. 공간기호는 크게 세 가지로, ‘덕(德)’, ‘학예(學藝)’, ‘조화(調和)’이다. 이 3개의 공간기호와현재 연동마을이 갖고 있는 다양한 공간 자원들을 고려하여, 녹우당 권역을 3개의 정원(덕의 정원, 학예의 정원, 쉼(休)의 정원)으로 분할한 뒤, 각 정원의 스토리 콘셉트를 강화시킬 수 있는 공간 전략들을 제안하였다.
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권주영(Kwon, Jooyoung) 한국미술연구소 2015 美術史論壇 Vol.- No.41
In Haenam Nogudang, there is a dressing table owned by the Yoon family of Haenam. This is made of wood with a round copper mirror on it. Its form is very distinctive and domestically unprecedented. This two-decked mirror stand has a cover on its upper deck and a drawer on the lower deck. It is assumed that this piece was made after the 19th century Joseon Dynasty in Jeolla-do due to the shape of its metal ornaments, use of built-in type lock, and leg-attaching style. The copper mirror is round shaped without a handle, and decorated with patterns like sand grains sprayed on the background and, arabesque and peony patterns on the middle respectively. Denkaitsu morita musasikami is written on its left bottom as inscription. Its decoration and inscription indicate that it is a mirror produced and used from the 17th to 18th century in Japan. It was originally a hand mirror with a handle, but had been cut later which shows Japanese mirror trends of the time. According to a number of references, Nogudang was brought in relation with Korean delegations and their activities. Most domestically found Japanese mirrors are owned by museums and temples and the distribution range is on the route between Japanese trading post and Seoul. it is highly possible that Yoon Doo Seo had obtained the mirror when he was living in Seoul and it is assumed that it was transported when he retired. Nogudang owns not only a Japanese mirror, but also 〈Ilbonyeodo(Map of Japan)〉 which indicates that Yoon Doo-Seo had had substantial interest and knowledge about Japan at the time. He had considerable interest towards Japan even it was the 17thcentury when there was high negative awareness against Japan due to the war. Interestingly, according to the research of private anthology of late Joseon Dynasty, most of them belonged to the affiliation of Nam’in.
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김도영 국제문화기술진흥원 2021 The Journal of the Convergence on Culture Technolo Vol.7 No.2
The three generations of Haenam Yoon, who have been handed down to Gongjae Yoon DuSeo (1668~1715), Yoon DeokHee (1685~1776) and Yoon Yong (1708~1740), were based in Haenam. They had an artistic soul on the stage of Hanyang and succeeded in the art of the family, building a reputation as a family of Seonbi painters representing the late Joseon Dynasty. Born as the eldest son of Gongjae and lived at the age of 82, Rakseo learned a variety of studies, calligraphy and painting from his father and Lee Seo. While learning the paintings of the early and mid Joseon period, and accepting the Namjong painting method, he pursued the realism and three-dimensional sense of the subject by adding a Western-style shading method. In particular, he showed outstanding talent in horse paintings and pottery figures, expressing his original 'Beauty that realistically portrays real scenery'. Cheonggo, who was born as the second son of Rakseo and died at the age of 32, was good at Namjong landscape painting using various tree drawing methods. He painted the original Siuido by changing the topical poems, as well as detailed observations and explorations to accurately describe the facts of the object. In addition, 'Beauty showing affection through realistic scenery' was expressed by newly changing and reinterpreting the tendency of home appliances painting to express the spirit as a form beyond the realistic landscape. Rakseo and Cheonggo father and son made a ‘NogUdang’ painting style, drastically changing the paintings of the late Joseon Dynasty, and had a great influence on the history of Korean painting. 恭齋 尹斗緖(1668~1715)와 駱西 尹德熙(1685~1776), 그리고 靑皐 尹愹(1708~1740)으로 전해져 온 해남윤씨 3대의 화맥과 학문사상은 해남에 본거지를 두었지만, 주로 한양을 무대로 예술혼을 펼쳤고 가법을 계승하여 조선 후기를 대표하는 선비출신 서화 가문으로 명망을 쌓았다. 恭齋의 장남으로 태어나 82세를 살았던 駱西는 친부 및 南人계열 李漵에게서 다양한 학문과 서화를 익혔다. 조선 초·중기 화풍을 섭렵하고 남종화법을 수용하면서 서양식 음영법을 가미하여 대상의 사실성과 입체감을 추구했는데 米法山水, 元末 四大家, 明代 吳派, 董其昌, 淸代 安徽派 등 다양한 화법을 융복합하여 변유적 회화심미를 이루었다. 그는 특히 말 그림과 도석인물화에서 탁월한 재능을 드러냈는데, 博學實得的 가풍에 比德的으로 구현한 독창적 眞景美를 발현하였다. 駱西의 둘째아들로 태어나 32세로 요절한 靑皐는 다양한 樹枝法을 구사한 남종산수화에 능했는데, 물상의 정확한 사실묘사를 위해 세밀한 관찰과 깊은 탐구심, 그리고 화보 화제시의 새로운 詩情을 펼치면서 독창적 구성의 詩意圖를 그렸다. 또한, 가전된 화풍을 변유적으로 재해석하여 眞景을 넘어 以形寫神의 眞情美를 발현하였다. 恭齋를 계승한 駱西와 靑皐 부자의 서민풍속화는 조선 후기 새로운 장로로 자리잡게 되는 등 이들 부자의 변유적 회화심미와 화법은 녹우당 화풍을 이루어 조선 회화풍을 획기적으로 변화시켜 한국회화사에 지대한 영향을 끼쳤다.
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