‘진경’의 고(古)와 금(今) : 근대기 사생과 진경 개념을 둘러싼 혼성과 변용

Abstract

The term and concept of ‘Jingyeong(眞景)’, in addition to Japan’s liquidation of remnants after liberation, rediscovering it as a historical precursor to the recovery of Korean character, has been considered one of the most important concepts of the Korean Modernization, along with ‘Sasaeng(寫生)’ in relation to Jingyeong and Jeong Seon(鄭敾) in the latter part of the Joseon period. In this process, however, Sasaeng were also removed from the context of the “Jeonshin theory(傳神論)” used in East Asia before modern times, and there was a tendency to view ‘Sayi(寫意)’ and ‘Sasaeng’ in a dichotomous way and to understand Sayi in conjunction with the “Abstract Art” on modern times.BR However, if the emphasis was placed on graphic depictions of the immediate object, such as painting education conducted under the early Meiji policy, it became more likely to incorporate the old modern narrative into the Western formation theory through the rediscovery boom of the Eastern tradition that took place through the Taisho(大正) at the end of the Meiji period. Thus, the hierarchical and informative differentiation of Sasaeng from the rudimentary level of objective Sasaeng for amateurs(children) to the subjective Sasaeng for professionals was published through the leading Japanese painters and the theorists and spread to East Asia.BR In this paper, the two terms, ‘Jingyeong’ and ‘Sasaeng,’ have been traced through major literature and primary materials of the modern era to this day. Through this, the focus of understanding “truth” with a focus on “reality” and “reality” is a term derived from Japan’s “attraction painting(名所圖)” concept of evolution and the hybridization of Western landscape painting, and it aims to help expand the scope of understanding of modern Korean painting’s “truth” and “abstract art.”