朝鮮 後期 官僚文化와 眞景山水畵 :소론계 관료를 중심으로
This study considers the true-view landscape paintings made by the order of Confucian officials during the late Joseon period. The tradition of provincial officials taking excursions, that is hwanyu(宦遊), was continued throughout the Joseon period. After the 17th century, many real landscape paintings were produced as visual records of these excursions. This article focuses on the true view landscape paintings commisioned by scholar officials during the middle 18th century when the true-view landscapes were popular. The major paintings recorded the hwanyu were generally ordered by the provincial officials and produced by the provincial painters. The origin of this type of paintings was the Ten Scenic Spots of Hamheung City and the Ten Scenic Spots of Hamgyeong Province commisioned by Nam Guman who was the leader of soron(少論) faction and the administrator of Hamgyeong Province in the late 17th century. This work as the result of Nam Guman’s hwanyu was the real landscape of political and symbolic significance that was aimed at developing and publicizing the Hamgyeoung Province. Scholars officials of the soron faction subsequently began producing real landscape paintings that portrayed provincial landscapes and clearly showed the influence of Ten Scenic Spots of Hamheung City and the Ten Scenic Spots of Hamgyeong Province. These paintings are characterized by their political and symbolic significance. Such works constitute a particular sub-genre within the true-view landscape painting of the 18th century, helping us to understand the various characteristics that comprise the genre as a whole. The Album of the Ten Scenic Spots of East Sea was commissioned by a provincial governor of the soron faction in 1748. It reveals more personal taste and shows purely artistic tendency focusing the “Three Treasure” of poetry, calligraphy and painting. Jeong Seon, the master of the true-view painting also painted a true view painting commissioned by Hong Gyeongbo, the provincial governor of the Gyeonggi Province to record a very elegant boat trip he enjoyed as part of an inspection tour in 1742. This work, a record of an artistically refined scholar official excursion suggests the development of a new culture of commemorating scholar official’s history as a government officer.