“真景山水”与“南宗”的共存

【作者】 吴映玟；

【导师】 薛永年；

【作者基本信息】 中央美术学院 ， 美术学， 2009， 博士

【副题名】朝鲜后期“仿古”实践中的权力

【摘要】 本文将研究重点放在朝鲜后期(1700-1850,相当于中国的康熙至道光年间)的一百多年间,尝试从当代美术史中被定位为“真景山水”画风代表人物的郑鄯的山水画实践入手,通过考察“南宗”、“真景”以及“仿古”这三个概念在当代韩国美术史以及朝鲜后期的绘画创作和鉴藏实践中的展开,试图分析和解释朝鲜后期绘画中的“仿古”实践中的权力诉求,以此为基础,解决和协调“真景山水”与“南宗画风”之间的关系问题。基于以上分析研究过程,本文所形成的主要的观点是:1、当代韩国美术史写作中,对于朝鲜后期美术史的“真景时代”以及“真景山水”的命名具有一定的遮蔽性。在这样的命名习惯下,我们无法对这一时期的“南宗”画风进行全面的理解和分析。2、在朝鲜后期,以郑鄯为代表的所谓“真景山水”的创作活动,是与以安东金氏和李秉渊、金光遂等鉴藏家的赞助和收藏活动,以及郑鄯的特殊身份紧密相关的。无论是“真景”的内容,还是“南宗”的风格,都是郑鄯与赞助人之间赖以交流和互动的平台。3、在朝鲜后期画坛,“南宗”画风作为这一时期绘画实践中的一个重要元素,虽然没有在一个类似于中国“南北宗论”那样所谓的“正统”绘画史观的视野下起作用,但却一直作为一种“权力”的载体发挥作用。而这一“权力”标准的建立便是通过作品中的“仿古”实践实现的。更多还原

【Abstract】 The dissertation focuses on the paintings of Jeong Seon who was famous for the true-view landscape paintings during the late Chosun period.Through the analysis of the concept of Southern School,True-view and fang’gu unfolding in the contemporary study of Korean art history and the process of painting and collecting practice in the late Chosun,the thesis tries to explain the relationship of true-view landscape paintings and the southern school of landscape paintings,based on the explanation of the purpose of the pursuit of power in the paintings of the late Chosun.The core point of this thesis is four folds:1,In the contemporary study of Korean art history,the naming of true-view landscape paintings(period) has shielding property to some degree.We can’t recognize and comprehend southern school of paintings at the same time.2,During the late Chosun period,the practice of painting true-view landscape paintings by Jeong Seon had relation to the practice of collecting and sponsoring by An-Dong Kim’s,Lee Byung-yon,Kim Kwang-soo,and the identity of Jeong Seon himself.Whether True-view,or Southern School,it’s the way that Jeong Seon and his sponsor can communicate with each other.3,As an important factor of the paintings of the late Chosun period,Southern School did not work as an orthodox standard of the history of paintings in China,but as a carrier of power.The pursuit of this power depended on the practice of fang’gu in the paintings that time.更多还原