18-19세기 箕城圖 屛風 연구

A Study on the Screen Paintings of Giseong in the 18th and 19th Century

조선시대 역사적 고도이자 국방과 외교, 경제의 거점도시로 자리매김한 평양성을 대형 병풍에 담은 기성도는 18-19세기에 널리 유행하였다. 늦어도 16세기 후반부터 그려지기 시작한 기성도는 18세기말 도상이 확립된 이후 목판본으로도 제작, 유포되었다. 기자유적이 큰 비중을 차지하는 기성도의 도상에는 당시 문사층의 기자에 대한 인식과 유적의 정비 실태가 반영되었다. 16세기말 평안감사를 지낸 윤두수가 편찬한『기자지』와『평양지』, 1776년에 서명응이 편찬한『기자외기』등이 지속적으로 간행되면서 세간의 관심을 환기시켰고 도설 판화는 기성도 도상의 원천 자료가 되었다. 시기가 올라가는 기성도는 부감시와 평행사선투시도법을 적용한 구도, 철선묘가 구사된 경물의 형태, 녹색을 위주로 한 산언덕의 설채법 등 18세기말-19세기초 도화서에 퍼져있던 화원화풍으로 그려졌다. 목판본의 양식도 비슷한 시기에 간행된 관찬서의 도설과 친연성이 강하다. 목판본의 밑그림은 김홍도를 비롯한 화원에 의해 그려졌을 가능성이 높고, 출판활동이 활발했던 한양과 평양에서 인출되었을 개연성이 있다. 18-19세기 기성도 병풍의 양식적 계보는 문헌기록으로 확인되는 기성도의 흐름에 부합한다. 현존작의 대부분은 19세기 이후 주문층이 확대되면서 임모되거나 복제된 기성도이다. 대개 행사장면이 첨가되는 등 경물이 늘어나고 채색이 화려해지며 도식적인 표현이 주를 이룬다. 즉 창의적 변형보다는 임모를 통한 답습이 주류를 형성했던 것이다.

During the Joseon dynasty Pyongyang (平壤) was designated the Western capital (西京) and it was a stronghold in terms of national defense, diplomacy and economy. Screens depicting grand views of the fortress of Pyongyang (Giseong-do 箕城圖) were very popular during the 18th and 19th century. Paintings of Giseong began to be made from the second half of the 16th century at the latest and its status as a painterly icon had been firmly established by the end of the 18th century when it also was produced and distributed in the form of woodblock prints. The largest number of remaining paintings of Giseong show the recognition about Gija (箕子) of the time. They reflect the intellectual milieu of the time and the interest in the restoration of historical sites in which are related in Gija. In the second half of the 16th century, Yun Du-soo (尹斗壽), the provincial governor of Pyongyang Province, compiled the Gijaji (箕子志) and the Pyongyangji (平壤志), and later, in 1776, Seo Myong-ung (徐命膺), the provincial governor of Pyongyang Province, edited the Gijaoegi (箕子外紀). Since these volumes were re-published several times until the 19th century the interest in the city of Pyongyang and in paintings of Giseong developed among the general public. Moreover, the woodblock prints that were included in the volumes served to heighten the iconic status of paintings featuring Giseong. Later paintings of Giseong were drawn in the styles of court painters and reflect the artistic trends that were widespread at the Dohwaseo (圖畵署) between the end of the 18th century and the beginning of the 19th century.This is manifested in compositions drawn from a bird’s eye view and the use of parallel linear perspective. Furthermore, shapes are drawn in clear lines and mountains are colored using mainly green pigment. On the other hand, literary records suggest that in the 18th and 19thcentury the production of screen paintings of Giseong was largely similar to that of processional paintings. It should be noted that the style of woodblock prints of Giseong are also closely related to the illustrations that feature in contemporary government-published books. It is highly likely that also such woodblock prints of Giseong were drafted by court painters including Kim Hong-do (金弘道) and it is possible that they were produced either in Pyongyang or Hanyang (漢陽) which in those days were known as places with brisk activity of printing. Most surviving examples of paintings of Giseong are copies which were made as the number of people ordering them increased in the 19th century. Such later copies can mainly be characterized by their schematic expressions and the more elaborate use of colors. This article concludes that the continuous production of screen paintings of Giseong was retained through the copy rather than the creative transformation of an iconic image.