歸鄕: 17-18세기 중국회화와 徽商 溪南吳氏 가문의 영향 = Returning Home: The Influence of a Huizhou Merchant Family, the Xi′nan Branch of the Wu Clan, on Chinese Painting in the Seventeenth and Eighteenth Centuries

다국어 초록 (Multilingual Abstract)

This study attempts to determine the significance of family and its relationship to art, by examining the growth of wandering monk Shitao (1642-1707), a member of the Ming royal house who lost his family, home and country in the turbulent transition to the Qing dynasty, into a professional literatus painter. Huizhou merchants, who supported the Individualistic trend in Chinese literati painting, exemplify the patronage of artists by merchant art collectors; the influence of the Xi’nan branch of the Wu clan began with Dong Qi-chang (1555-1636), before continuing with Hong Ren (1610- 1663) and, later, Shitao. The latter, in particular, painted Xi’nan bajing tu (“Eight Views of Xi’nan”) in 1700 for Wu Yu-qiao (1679-?), a Huizhou salt merchant living in Yangzhou. This prompts us to explore the actual meaning of Mt. Huang to Shitao and arrive at two points: firstly, that the relationships between the Xi’nan Wus and artists were a significant element of the background to the depiction of the ancestral village near Mt. Huang; and, secondly, that commissions from some merchant patrons in the seventeenth and eighteenth centuries may be regarded as special favors from “friends” of the artists. This transformed type of patronage leads us to re-interpret Shitao’s paintings of Mt. Huang. To the monk-painter, who had no actual family of his own, teachers and friends were akin to family. He readily brought joy and feeling to paintings produced for these friends. It follows that, to Shitao, Mt. Huang may have been both an actual mountain and a symbol of patrons such as the Xi’nan Wus, who supported him and his art.

국문 초록 (Abstract)

본고는 명청교체기에 가족・고향・나라 모두를 상실한 고아왕손이자 떠돌이 승려인 石濤(1642-1707)가 직업적 문인화가로 성장해간 과정에서 가족과 미술의 관계를 찾아본 것이다. 중국회화의 개성주의 조류를 뒷받침한 徽商은 상인수장가의 미술후원을 대표하고, 계남오씨 가문은 董其昌(1555-1636)에서부터 弘仁(1610-1663), 석도에게까지 영향을 미쳤다. 특히 석도가 1700년에 양주에 사는 휘주인이던 염상 吳與橋(1679-?)를 위해 그려준 《溪南八景圖》는 계남오씨와 화가의 교제가 황산 부근의 세거지를 그린 산수화 출현의 주요 배경인 점, 17-18세기에 특정 상인의 후원이 ‘친구’라는 특별한 고객의 주문으로 전환된 점에서 석도의 황산을 재해석케 한다. 가족이 없던 그에게 스승과 친구는 가족과 같았고, 친구를 위한 작업에서 화가는 기쁨과 감동을 주는 역할을 기꺼이 담당했던 바, 그에게 황산은 실재하는 산 자체를 의미하는 동시에 휘상, 특히 계남오씨 같은 후원자를 상징할 수 있는 것이다.

참고문헌 (Reference)

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