金農(1687~1763)의 人物畵硏究

Abstract

The purpose of this study is to examine the impact of Nong Jin's acceptance of traditional modes, self-process, and influences to generations to come through the figure paintings by Nong Jin in terms of 'the succession of tradition and innovation', a subject recurring in oriental painting. The process of accepting traditional modes was classified into four: the impacts from the plain sketch reminding of Gonglin Li, zen painting and ink stick technique by Kai Liang, orchid-like brush technique by Hezhi Ma, and Iconology by Shixi. In addition, the study examined a new creation of his colored painting of Buddha, a painting of Buddha that is the most distinguished in its structure in the history of Buddhist paintings in China and is applied with calligraphic brush strokes reminding of Ye technique through self-process. In particular, the study discovered that the paintings of Dharma by Nong Jin was influenced by Shixi, a characterful painter of the Qing Dynasty, and affected Ping Luo, his student as well as Changshi Wu, a Haipa school painter. Figure painting is a genre that has a long history not only in the East, but in the West. That is why formative experiences and theories with regard to figure paintings are very broad and rich. In general, while figure paintings in the West are concerned with external conditions of a figure such as appearances and colors, those in the East value the expression of internal contents of a subject. Transmission of the spirit as a traditional theory of oriental painting does not come in on the creative concept of an artist, rather it values emotional issues appeared in figure paintings. However, it is important to approach figure paintings by referring to the meaning and concept of traditional transmission of the spirit as figure painting as Modern Art has been enhanced with a subject of creation by artists. Colored painting of Buddha created by Nong Jin would be a help for this.