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I. 서론 6

II. 겸재(謙齋)의 생애와 시대적 배경 8

III. 산수화(山水畵)의 사상적(思想的) 배경 12

1. 산수화의 의의 12

2. 산수화의 사상적 배경 14

1) 유가사상(儒家思想) 17

2) 도가사상(道家思想) 21

3) 선가사상(禪家思想) 25

4) 성리학(性理學) 29

5) 실학(實學) 31

IV. 진경(眞景)·실경(實景)산수화의 발생배경 34

1. 진경산수화의 발생배경 34

2. 실경산수화의 발생배경 37

V. 정선(鄭敾)의 진경산수화의 사상적 특징 40

1. 정선의 진경산수화 40

2. 천기론적(天機論的)인 문예관과 자득적(自得的) 창작태도 43

3. 정선 작품의 사상적 특징 45

VI. 결론 57

참고문헌 59

ABSTRACT 61

그림목차

(그림-1) 안견(1418-?), 〈몽유도원도(夢遊桃園圖)〉, 1447년, 견본담채, 37.8×106.5cm, 일본 천리대학(天理大學) 중앙도서관 소장. 37

(그림-2) 정선, 〈금강내산총도(金剛內山總圖)〉, 풍악도첩 중, 1711년, 견본담채, 26.5×35.8cm, 국립중앙박물관 소장. 46

(그림-3) 정선, 〈금강전도(金剛全圖)〉, 1734년, 지본담채, 130.7×94.1cm, 호암미술관 소장. 47

(그림-4) 정선, 〈장안사도(長安寺圖)〉, 해악도8폭병 중, 지본담채, 56×42.8cm, 간송미술관 소장. 48

(그림-5) 정선, 〈백천동도(百川洞圖)〉, 해악도첩 중, 국립중앙박물관 소장. 48

(그림-6) 정선, 〈단발령망금강(斷髮嶺望金剛)〉, 견본담채, 32×24.8cm, 간송미술관 소장. 49

(그림-7) 정선, 〈만폭동도(萬瀑洞圖)〉, 견본담채, 33×22cm, 서울대박물관 소장. 49

(그림-8) 정선, 〈불정대도(佛頂臺圖)〉, 해악전신첩 중, 간송미술관 소장. 50

(그림-9) 정선, 〈정양사(正陽寺)〉, 지본담채, 22.7×61.5cm, 국립중앙박물관 소장. 50

(그림-10) 정선, 〈청풍계1〉, 견본담채, 1730년, 96.5×36cm, 고려대학교박물관. 51

(그림-11) 정선, 〈청풍계2〉, 견본담채, 1739년, 133.4×59cm, 간송미술관 소장. 51

(그림-12) 정선, 〈인왕제색도(仁王霽色圖)〉, 1751년, 지본수묵, 79.3×138.2cm, 호암미술관 소장. 52

(그림-13) 정선, 〈삼일포(三日浦)〉, 지본담채, 56×42.8cm, 간송미술관 소장. 53

(그림-14) 정선, 〈총석정도(叢石亭圖)〉, 지본담채, 56×42.8cm, 간송미술관 소장. 53

(그림-15) 정선, 〈삼부연(三釜淵)〉, 1742년, 견본채색, 31.4×24.2cm, 간송미술관 소장. 54

(그림-16) 정선, 〈박연폭도(朴淵瀑圖)〉, 지본수묵, 119.5×52.2cm, 개인 소장. 54

(그림-17) 정선, 〈청송당(聽松堂)〉, 장동팔경첩, 지본담채, 33.5×29.3cm, 간송미술관 소장. 55

(그림-18) 정선, 〈대은암도(大隱岩圖)〉, 장동팔경첩, 지본담채, 33.5×29.3cm, 국립중앙박물관 소장. 55

초록보기

JEONG Seon(鄭敾, 1676-1759, styled Gyeomjae) was a painter in the late era of Chosun Dynasty. He was called Wonbaek(元伯) as his pseudonym and had other names such as Gyeomjae(謙齋) or Nahngok(蘭谷). At the age of twenty, KIM Chang-Jib(金昌集) recommended him for an official post, or the Hwawon(畵員) in Dohwaseo(圖畵書, the national painting center). Later the painter took office as Hyungahm(縣監, headman).

He painted noted mountains and beautiful scenery which exist in Korea peninsula. He created the Jin-gyeong Sansuhwa(眞景山水畵), or the Korean realistic landscape painting based on the traditional art of drawing and Namjong(南宗, the Southern School) alike. His painting style has a historical significance because not only did he depict Korean landscape, he also succeeded in forming the unique Korean style of painting.

From now on, a lot of research has already been conducted on Jeong Seon's Jin-gyeong Sansuhwa. Most of them could be considered as the theories on Jeong Seon himself or the structural principles of his painting. This study identified the philosophical influence to JEONG Seon's works. First of all, his realistic landscape painting shows such a distinctive style vis-a-vis that of the other painters in the late-Chosun period. In this research, I tried to unveil the philosophical characteristics of his work.

Taoism and Confucianism were covered as the philosophical influences to landscape paintings. Sung Confucianism(性理學) and the Practical Science(實學) were to the Jin-gyeong Sansuhwa as well. Subsequently, I articulated the Jin-gyeong landscape painting (眞景山水畵, the realistic landscaping painting), Sil-kyoung landscape painting (實景山水畵, the real-scenery landscape painting) and Jeong's philosophical characteristics on his work.

Jeong has studied the Book of Changes(周易), or the basis of the Oriental Cosmology since he was young. Thus, he could understand the principle of all things and put this into practice. That is how he knew the root of the Oriental painting and created his pieces.

He brought his work to life and expressed the natural mysticism and the idea of the other-world and this-world found in Taoism in an effort to give his work a meaning. His Jin-gyeong Sansuhwa contained Taoist Naturalism and profound Taoism alike. He developed his work grounded in his own philosophy of painting and deeply comprehended Taoism and Buddhism. Especially he applied Kwak-Hui(郭熙)'s Imcheongochi(林泉高致) and Seok-Do(石濤)'s theories on painting to his drawing. Based on these efforts, Jeong was able to create his own painting in a philosophically unique way. Like this, he did his best to observe and express objects and finally produced the Jin-gyeong Sansuhwa with his own unique profound philosophy.

Compared to the other painters' works in the early eighteenth century, his paintings were more realistically depicted than they were. Jeong, however, has tried to reach the goal of expressing the inner properties of each object from the perspective of the theories of Cheon-gi(天機論).

Even though this realistic landscape style was sometimes criticized by Gang Se-hwang(姜世晃, 1713~1791), it prevailed and influenced the works of literati painters in the late era of Chosun Dynasty. Even at now, the philosophical characteristics of his work give a task that modern painters should have their own philosophy about the painting.

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