(신)문인화의 의미변화에 대한 분석-문인화의 “사기(士气)”에서 신(新)문인화의 “반(反)문화”로 = A Study on the Semantic Change of (Neo-)Literati Paintings - from the “morale” of literati paintings to the “anti-culture” of neo-literati paintings

다국어 초록 (Multilingual Abstract)

The purpose of this paper is to analyze the change of the meanings of literati paintings in the context of the evolution from the “morale” of literati paintings to the “anti-culture” of neo-literati paintings. More specifically, it focuses on the semantic change from the definition of literati-paintings by Tung Chi-chang in the end of Ming Dynasty to the change of its meanings in different historic periods. It also aims at answering the questions, such as, what causes the neo-literati paintings to put forward the anti-cultural slogans against the conventional literati painting; what the features of the neo-literati paintings are; and how to understand the change of the meanings in the context of contemporary Chinese arts. The meanings of neo-literati paintings are derived from and generated in the relationship with the conventional literati paintings. Due to such particularity, the research method of this paper is to study the previous researches in the intertextual context. It is in the same context to appropriate Hal Foster’s “Parallax”. Chapter II deals with the definition of morale, which is the basis of the literati paintings, and the features of literati-paintings. Then, the first section of chapter III investigates the formation of the literati paintings at the shock of Euro-culture in the end of 19th century, while the second section analyzes the reform movement of literati paintings in the period of art politicization after 1949. Chapter IV studies the features of anti-culture in neo-literati paintings with the analysis of the structural and semantic changes under new historical conditions. The tentative conclusion is that the neo-literati paintings should be studied not only in the contrast with the conventional literati paintings, but also in the context of the conflict with European culture, and with the relationship of cultural power structure. In this sense, the features including that of the anti-culture would reveal the historical and cultural changes of Chinese society in the contemporary period within their complexity, multiplicity, and ambiguity. The significance of this study is to provide the reference for the researchers who might study on (neo)-literati paintings in the future.

국문 초록 (Abstract)

이 연구의 목적은 문인화가 어떻게 "문인화의 사기"에서 "신인문화의 반문화"로 의미가 변화했는가를추적하는 것이다. 명말의 동기창에 의하여 정립된 문인화는 역사와 시대 속에서 어떻게 변화하였는가.
그리고 개혁개방과 함께 출현한 신문인화는 왜 기존의 문인화에 대항하여 반문화적인 구호를 제출하였으며 그것의 특점은 무엇이며 이러한 것들은 중국동시대미술의 맥락에서 어떻게 이해해야 할 것인가 등이 본고의 문제의식이다. 신문인화는 기존의 문인화와의 관계속에서 의미를 파생하고 획득한다.
이런 특점에 근거하여 본고는 연구방법은 기존의 연구자료를 상호텍스트적 맥락에서 읽는 것이다. 아울러 핼 포스터의 “변위(Parallax)” 개념의 적극적인 수용도 그러한 맥락에서이다. 논의의 순조로운진행을 위하여 Ⅱ장에서 문인화의 근간인 사기(士气)와 문인화의 일련의 특점을 언급하고자 한다. 3 장 1절에서 서구문화의 충격과 함께 19세기 말부터 문인화가 어떻게 각색되었는지를 살펴볼 것이며, 2절에서는 1949년 이후 예술의 정치화에 따른 문인화의 개조운동을 살펴보고자 한다. 4장의 논의초점은 신문인화가 새로운 역사사회 환경 속에서 어떤 구조적 변화와 의미지층의 변동을 수반했는가의두면서, 신문인화의 반(反)문화적 특징을 살펴볼 것이다. 잠정적 결론으로 신문인화를 전통문인화와의 대별구도 속에서, 서구문화와의 충돌 속에서 그리고 문화권력구조의 수열관계 속에서 복합적으로연구되어야 한다. 아울러 신문인화의 반문화적인 인소를 포함한 일련의 특징은 동시대상황 속에서의중국사회의 역사와 문화적 상황을 복합적이고 중층적이고 양가적으로 드러내 보인다. 끝으로 본고가(신)문인화연구자들에게 참고문헌 역할을 하길 기대해본다.

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