고려 중기의 북송과의 회화 교류

Abstract

The mid-Goryeo Dynasty (approx. 1050~1150), extended from the new tendencies of early Goryeo paintings, continued from King Munjong to Uijong. This period saw the rise of literati painters, theory, and subject of painting. To begin with, Hwaguk(畵局; the Imperial Painting Academy of Goryeo) was established, and painters such as Lee Nyeong(李寧) who created notable paintings emerged, accelerating a turn to paintings for appreciation. With the accommodation of Eojebijangjeon(御製秘藏詮; including Eojebulbu and Eojejeonwonga) Sansupanhwa(山水版畵; landscape print), Sansuhwa(山水畵; landscape painting) developed. The development of Sansuhwa resulted the start and evolution of Silkyungsansuhwa(實景山水畵; real landscape painting). Also, Buddhist paintings developed with the hyperrealistic style of academic painting. Such qualitative change and shift in the mid-Goryeo dynasty was highly inf luenced by painting exchange with Northern Song led by King Taejo and King Munjong, who was adored as a benevolent and divine king. This study focuses on painting exchange with Northern Song, which played a crucial role in bringing such shift to mid-Goryeo paintings based on written records. On March of the 25th year of Munjong (1071), the alliance between Goryeo and Song resumed. Since then, delegates of each country came and went for about 30 times actively proceeding painting exchange. This was until 1127, when the capital of the Jin Dynasty fell down and Northern Song collapsed. By this, different tendencies of Northern Song paintings which informed the golden ages of Chinese paintings flowed in, and changed Goryeo paintings into medieval ones for appreciation. These tendencies were also used for the establishment of high-degree academic painting style. Investigation on the painting exchange between mid-Goryeo and Northern Song is still unclear; however, this study is critical in means of starting to understand the relationship between Goryeo paintings and the history of East Asian paintings. Therefore, this study plans to restore the true history of Goryeo paintings in both diachronic and synchronic contexts, with detailed analysis and historical research distinct from previous studies which solely displays a list of brief data.