『묵연휘관』을 통해 본 안기의 서화수장 활동 = The Mo-yuan hui-kuan An Chi`s Collection of Painting and Calligraphy

다국어 초록 (Multilingual Abstract)

The Mo-yu¨an hui-kuan (墨綠彙觀, preface. 1742) by An Ch´i (安岐:1683-after 1745) is a renowned catalogue of Chinese painting and calligraphy, that contains rare examples and provides a variety of information for extant works. An Ch´i was a wealthy Korean salt merchant and started his career as a collector and connoisseur in his early life. According to Hsiao Shih`s (蕭奭) Yung-hsien-lu (永憲錄), An Ch´i´s grand father and father were financially supported by Ming Ju(明珠:1635-1708), an influential politician under the K`ang-hsi emperor(r.1662-1722). Not only were they engaged in the salt business in Tien-jin and Yang-chou but also became the nouveau riche, even dominating other merchants` commercial places. During the first quarter of the eighteenth century An Ch´i could be one of the most important merchants in the Liang-hual(兩淮) area. Being naturally interested in painting, An Ch´i had occasionally written the catalogue during his life time and completed it in 1745 just before his death. In order to make it, he assiduously researched a good deal of relevant reference materials, comparing to many works he had seen before. It is reasonable that his important relationship with Chang Chao(張照: 1691-1745) and Wang Hui (왕휘: 1632-1717) made him cherish knowledge of traditional painting without any literate background. Given other catalogues published in the Ch`ing dynasty, the Mo-yu¨an hui-kuan shows a similar method in the light of entries; material, size, inscriptions, colophons, and seals. Despite its similar organization it has more meaningful information accounted in detail in this paper. All paintings and calligraphic works in this voluminous catalogue are chronologically arranged dating from the Chin till the Ming dynasties. Section three, chu¨an 3 includes the artists and their works through the centuries. Since he considered a number of paintings recorded in this section mostly were authentic, An Ch´i briefly described the technique, painting style, and subject matters rather than dealing with connoisseurship. He often referred to some critical comments on other connoisseurs` mistaken remarks or citations. He, however, avoided making any additional statement about works he had never examined. As opposed to chu¨an 3, chu¨an 4 is merely dedicated to album leaves(帖) that contained works by several artists under the same title. Although An Ch´i´s commentary is not much longer than that in chu¨an 3, it is meaningful to note that he attempted to authenticate some examples handed down as the so-called genuine works by the earlier connoisseurs. In the case of re-attribution, he supported his suggestion with definite evidence. For example, Yen ching-t´u (煙景圖) was attributed to Kuo Hsi (郭熙: 1020-1074) by Tung Ch´i-ch´ang, An Ch´i carefully corrected Tung´s error after he found out Yang Shih-hsien´s (楊士賢: 12th ct.) signature on the painting. The astute comments found in such writings reveal his startling insight into connoisseurship. Other instances quoted in this paper present the vast information of the individual artists and their works as well as documentary sources of those still extant or now lost. It means many famous art works passed through his hands. His catalogue, Mo-yu¨an hui-kuan shows how a Korean-Chinese connoisseur was struggling to solve problems concerning date, removed seals, limited texts, and forgeries. His comprehensive research provided a standard from which connoisseurship in the later Ch´ing period could develop. Thus, it would not be exaggerated to say that An Ch´i occupied a key place as an eminent connoisseur-collector in the northern Yangze area of the eighteenth century China.