硏經齋 成海應(1760~1839)은 조선후기에 활동한 서얼 출신 문인학자로 경학은 물론 역사ㆍ지리ㆍ문학ㆍ서화 등 여러 분야에 방대한 저술을 남겼다. 특히 『硏經齋全集』 續集에 실린 「書畵雜識」는 성해응의 書畵趣味뿐 아니라 동시기 문화계의 단면을 엿볼 수 있는 사료로 높은 가치를 지닌다. 그는 奎章閣 檢書官으로 봉직하며 학문적 역량을 다졌고, 부친 成大中(1732~1809)과 함께 시문서화에 능했던 인사들과 어울리며 문예적 소양을 길렀다. 18세기 들어 확산된 서화수집과 감상 풍조, 대대로 뛰어난 文才를 발휘했던 家風과 부친의 서화취미, 그리고 성대중ㆍ성해응 부자를 총애했던 正祖(1776~1800 재위)는 성해응의 서화취미와 書畵觀 형성에 직, 간접적인 영향을 미쳤다.
「서화잡지」를 비롯해 그의 문집에 실려 있는 書畵題跋은 1백 편이 넘는다. 한ㆍ중ㆍ일 삼국을 포괄 한국 서화가 압도적인 비중을 차지하며, 역대 碑文과 法帖을 비롯해 名士들의 筆跡과 簡札, 繪畵 등 다양한 유물이 다루어졌다. 古代부터 當代까지 대표적인 서예 작품을 두루 섭렵한 반면, 회화는 18세기 이후에 활동한 조선 화가들의 작품이 대부분이다. 그는 대체로 짧고 평이한 문장으로 작가와 작품에 대한 기본 정보와 관련 일화, 열람 경위, 유물 상태 등 객관적인 사실을 기록하는 데 중점을 두었고, 자신의 주관적 견해는 함축적인 용어로 간략히 표현하였다. 성해응의 서화에 대한 인식과 鑑評의 특징은 末藝論, 品性論, 作家論, 作品論, 考證學的 분석과 眞僞鑑識 등으로 정리된다.
요컨대 성해응의 서화관은 전 근대기 문인 지식인들의 보편적 인식에서 크게 벗어나지 않는 차원에 머물렀다. 또한 평소 서화를 즐기고 애호했지만, 경학을 중심으로 한 학문적 관심을 능가하지는 못했기 때문에 본격적인 서화론을 궁구하는 단계까지 나아가지는 못했다. 그는 부친 성대중이나 정조와 마찬가지로 對明義理論을 고수했던 文士답게 매우 보수적인 서화관을 견지하고 있었던 것이다.Yeonkyungjae (硏經齋) Seong Hae-eung (成海應, 1760~1839), a descendant of illegitimate family, was a literary scholar of the late Joseon Dynasty. He was a prolific author, publishing a considerable number of books on Chinese classics, history, geography, literature, and painting and calligraphy. In particular ‘Seohwajapzi’ (書畵雜識) which was published in Yeonkyungjaejeonjip (硏經齋全集, the complete works of Yeonkyungjae), Seong Hae-eung’s literary anthology was a precious historical record which conveyed his own the interest of paintings and calligraphy as well as cultural atmosphere surrounding the author during the period. Serving as an official editor of Gyujanggak (奎章閣), he thus developed his scholarly competence. He cultivated his literary and artistic sense by associating with the literary figures of the day, including his father, Seong Dae-jung (成大中, 1732~1809) who were knowledgeable in poetry, prose, paintings and calligraphy. Various elements had made effect upon the interest and viewpoint of paintings and calligraphy of Seong Hae-eung a trend of collection and appreciation of paintings and calligraphic works spread since the beginning of the 18th century, his family tradition which had displayed outstanding literary talent through the generations, and King Jeongjo’s (正祖, r. 1776~1800) generous patronage of Seong Hae-eung and his father.
More than 100 writings on the back of the paintings and calligraphy, including ‘Seohwajapzi,’ are introduced in Seong Hae-eung’s anthology. It details diverse types of writings such as historical epitaphs, copybooks printed from the works of old masters of calligraphy as well as handwritings, letters and paintings of famous people from Korea, China, and Japan. Having said that, Korean paintings and calligraphic works were relatively preponderant. It includes numerous works of people who had close ties to his family through the generations. While it carries most of representative works of calligraphy from ancient times to contemporary period the paintings included are mostly works of Joseon painters who had been active since the 18th century. It seems that Seong Hae-eung emphasizes to record objective facts such as anecdote related to authors, painters and works, reason for appreciating them and conditions of remains by using short and plain sentences in general rather than express his subjective opinion. Special features of Seong Hae-eung's recognition and criticism on the paintings and calligraphy could be summed up as follows: his view on art as trifle talent (末藝論), the theory of personality of artist (品性論), the theory of artist’s life (作家論), the theory of works (作品論) and bibliographical analysis (考證學分析) and analysis of authenticity and false (眞僞鑑識) etc.
In short Seong Hae-eung's viewpoint on painting and calligraphy shows several points of similarities with other literati’s conservative attitudes and viewpoints on art and connoisseurship. Despite his love of paintings and calligraphy, it did not surpass his scholarly interest with focus on Chinese classics thus he never committed himself to creating a philosophical theory of painting and calligraphy. Like the intellectuals of Joseon of the day including his family and King Jeongjo stayed loyal to the Ming Dynasty even after its collapse he maintained conservative viewpoint on painting and calligraphy.