한국전통조경학회지 (Journal of the Korean Institute of Traditional Landscape Architecture)

  • 제37권3호
  • /
  • Pages.62-82
  • /
  • 2019
  • /
  • 1738-236X(pISSN)
  • /
  • 2384-1478(eISSN)
한국전통조경학회 (Korean Institute of Traditional Landscape Architecture)
권호 표지
DOI QR코드

DOI QR Code

중국 『무이구곡도』 3폭(幅)의 비교 분석을 통해 본 18세기 무이산 구곡계(九曲溪)의 경물 인지특성

An Analysis of the Landscape Cognitive Characteristics of 'Gugok Streams' in the First Half of the 18th Century Based on the Comparison of China's 『Wuyi-Gugok Painting』

  • 정조하 (우석대학교 대학원 조경건설공학과) ;
  • 노재현 (우석대학교 조경학과) ;
  • 강정 (우석대학교 대학원 조경건설공학과)
  • Cheng, Zhao-Xia (Dept. of Landscape Architecture and Civil Engineering, Graduate School, Woosuk University) ;
  • Rho, Jae-Hyun (Dept. of Landscape Architecture, Woosuk University) ;
  • Jiang, Cheng (Dept. of Landscape Architecture and Civil Engineering, Graduate School, Woosuk University)
  • 투고 : 2019.05.30
  • 심사 : 2019.07.08
  • 발행 : 2019.09.30
PDF 다운로드
⟨ 이전 논문 다음 논문 ⟩

초록

중국 청나라 중기에 제작된 『산수분계지도(山水分界之圖): A』, 『무이산구곡계전도(武夷山九曲溪全圖): B』 그리고 『무이산십팔경도(武夷山十八景圖): C』 등 3폭의 『무이구곡도』를 대상으로, 그림에 명기된 명칭을 조사한 뒤 문헌조사를 병행하여 경처와 경물유형, 이미지 분석을 시도하였다. 이후 각 곡별 경물 유형수와 경물수를 바탕으로 한 경물풍부도와 경관유사도 분석을 통해 18C '무이산 구곡계'의 경관 인지특성을 살펴본 연구결과는 다음과 같다. 첫째, 『무이산지』의 명소 유형에 대한 묘사에 따르면, 3폭 그림 중 경물 명칭은 총 41개 유형으로 집계되었는데, 이 중 암(岩)·봉(峰)·석(石) 등 3개 경물이 차지하는 경관적 비중이 압도적으로 우세하였다. 데이터에 따르면 무이구곡의 경관 중 암·봉·석의 수가 절반 이상으로 이는 단하지모(丹霞地貌) 등으로 이루어진 무이산의 지모경관적 특성이 반영된 결과이다. 둘째, 구곡계 경관은 다양하고 심상이 풍부한 것으로 확인되었다. 그림 상의 주 대상장인 제1곡 대왕봉과 만정봉, 제2곡 옥녀봉, 제3곡 소장봉, 제4곡 대장봉, 제5곡 대은병과 무이정사 그리고 제6곡 선장봉과 천유봉은 경물풍부도(景觀豐富度)가 탁월한 반면, 7~9곡은 상대적으로 낮게 나타났다. 셋째, 곡별 경관이미지 조사 결과, 구곡계의 인문경관 심상 형성에는 무이산과 관련된 신화 및 전설에서 비롯된 특이성으로 인해 경관 인지도가 매우 높았다. 특히 제1곡과 제5곡은 무이군을 바탕으로 한 도교문화와 주자의 성리문화와 관련한 석각문화, 주유문화(舟遊文化) 등과 밀접하게 관련되어 있다. 넷째, 41가지 경물 유형에 따른 경관유사도 분석 결과, A와 C의 유사도가 매우 높았으며 형태묘사 및 원근 표현관계가 매우 흡사함을 볼 때, 한쪽 그림의 영향을 받은 것이 분명한 것으로 판단된다. 전체적으로 3폭의 그림에 묘사된 경물명은 오랜 시간 동안 전승, 누적된 신화 및 전설 그리고 경물의 이름붙이기를 통해 최소한 18C 전반 이전에 이미 정착·형성되어 인지되어 온 문화경관임이 확인된다. 다소의 순위 차이는 있으나 3폭 모두에 출현하는 경물 유형은 '석'이 21개소, '암'이 20개소, '봉'이 17개소로 석, 암, 봉은 무이산 구곡계의 경관성을 견인하고 있다. 다섯째, A와 C에서는 선조대(仙釣臺/태(台))가 제4곡도에 묘사되어 있지만, 한국에서는 제3곡의 경물명칭으로 알려지고 있는 점은 주목할 만하다. 또한 1곡의 승진동(升眞洞), 7곡의 석당사(石堂寺)는 그림 A·B·C 모두에서 묘사되고 있지 않는 점은 특이하며 향후 연구가 필요한 부분이다.

Taking the three Wuyi-Gugok Drawings, 『A Picture Showing the Boundary Between Mountains and Rivers: A』, 『Landscape of the Jiuqu River in the Wuyi Mountain: B』 and 『Eighteen Sceneries of Wuyi Mountain: C』, which were produced in the mid-Qing Dynasty as the research objects and after investigating the names recorded in the paintings, this paper tries to analyze the scenic spots, scene types and images in the literature survey. Also, based on the number of Scenic type and the number of Scenic name in each Gok, landscape richness(LR) and landscape similarity(LS) of the Gugok scenic spots, the cognitive characteristics of the landscape in the 18th century were carefully observed. The results are as follows. Firstly, according to the description statistics of scenic spot types in Wuyi Mountain Chronicle, there were 41 descriptions of scenery names in the three paintings, among which rock, peak and stone accounted for the majority. According to the data, the number of rocks, peaks and stones in Wuyi-Gugok landscape accounted for more than half, which reflected the characteristics of geological landscape such as Danxia landform in Wuyi-Gugok landscape. Secondly, the landscape of Gugok Stream(九曲溪) was diverse and full of images. The 1st Gok Daewangbong(大王峰) and Manjeongbong(幔亭峰), the 2nd Gok Oknyeobong(玉女峰), the 3rd Gok Sojangbong(小藏峰), the 4th Gok Daejangbong(大藏峰), the 5th Gok Daeeunbyeong(大隱屛) and Muijeongsa(武夷精舍), the 6th Gok Seonjangbong(仙掌峰) and Cheonyubong(天游峰) all had outstanding landscape in each Gok. However, the landscape features of the 7th~9th Gok were relatively low. Thirdly, according to the landscape image survey of each Gok, the image formation of Gugok cultural landscape originates from the specificity of the myths and legends related to Wuyi Mountain, and the landscape is highly well-known. Due to the specificity, the landscape recognition was very high. In particular, the 1st Gok and the 5th Gok closely related to the Taoist culture based on Muigun, the Stone Carving culture and the Boat Tour culture related to neo-confucianism culture of Zhu Xi. Fourthly, according to the analysis results of landscape similarity of 41 landscape types shown in the figure, the similarity of A and C was very high. The morphological description and the relationship of distant and near performance was very similar. Therefore, it could be judged that this was obviously influenced by one painting. As a whole, the names of the scenes depicted in the three paintings were formed at least in the first half of 18th century through a long history of inheritance, accumulated myths and legends, and the names of the scenes. The order of the scenery names in three Drawings had some differences. But among the scenery names appearing in all three Drawings, there were 21 stones, 20 rocks and 17 peaks. Stones, rocks and peaks guided the landscape of Gugok Streams in Wuyi Mountain. Fifthly, Seonjodae(仙釣臺) in A and C was described in the 4th Gok, but what deserved attention was that it was known as the scenery name of the 3rd Gok in Korean. In addition, Seungjindong(升眞洞) in the 1st Gok and Seokdangsa(石堂寺) in the 7th Gok were not described in Drawings A, B and C. This is a special point that needs to be studied in the future.

키워드

참고문헌

  1. Fujian provincial local Chronicles compilation committee(2004). Local Chronicles in Fujian Province . Muisanji(武夷山志). Fangzhi Publishing House.
  2. Zheng, C.(2014). Harmony between Human Being and Nature of Wuyi Mountain(天人合一武夷山). Straits Literature and Art Publishing House.
  3. Niu, L. Y. and Jin, Y. Z.(2014). South Korea's Gugok Painting Expression and Its Model Research. Journal of Yangtze University (Social Science Edition). 37(9): 189-191.
  4. Liu, J. J.(2008). Fujian Culture and Wuyi Mountain(闽文化与武夷山). Xiamen University Press.
  5. Wuyi Mountain Local History Compilation Committee(2007). Muisanji(武夷山志). Fangzhi Publishing House: Vol.1, Vol.4-Vol.24.
  6. Yu, J. Y.(1981). A Study on the Occurrence and Origin of Ggokdo. Korean Journal of Art History. 151(-): 1-20.
  7. Yun C. Y.(1997). A Sudy on the Gugokdo in the Joseon Dynasty. Master's theses The Academy of The Graduate of Korean Studies.
  8. Kang, S. A.(2004). A Sudy on the Muigugokdo in the Joseon Dynasty. Master's Theses of Korea University Graduate School.
  9. Kang S. A.(2007). The Origin and Iconography of Muigugokdo in the Joseon Dynasty. Korean Journal of Art History. 254(-): 5-40. https://doi.org/10.31065/AHAK.254.254.200706.001
  10. Chung K. S.(2015). Study on Wuyi Nine Bent Stream Paintings. Doctoral thesis of Myongji University Graduate School.
  11. Chung, K. S.(2016). An Article on the Chae Yongshin"s 10 piece-folding screen painting of Nine-bend in Mt. Wuyi in 1915. Art History & Cultural Heritages. 5(-): 183-210.
  12. http://digitalatlas.ascdc.sinica.edu.tw/map_detail.jsp?id=A104000040
  13. http://digitalatlas.ascdc.sinica.edu.tw/map_detail.jsp?id=A104000041
  14. https://blog.naver.com/sky0sj/130177504820
  15. Rho, J. H., Choi, Y. H and Kim, S. B.(2018). The Present Status and Characteristics of Landscape Components of Gugokwonlim Created by Classical Scholars of Joseon Dynasty. Journal of the Korean Institute of Traditional Landscape Architecture. 36(3): 37-47. https://doi.org/10.14700/KITLA.2018.36.3.037
  16. Jin, Y. Z.(2013). Gugokdoga(武夷棹歌) and Korean Gugok Culture. Tongji university press.
  17. Zhu, P. A.(2008). Wuyi Mountain Cliff Stone Carving and Wuyi Culture Study. Xiamen university press.
  18. Wuyi Mountain Local Chronicles compilation committee(2007). Wuyi Mountain Cliff Carvings. Popular Literature and Art Publishing House.
  19. Gim, M. G. and Gang, J. S.(2008). Gugok Culture in North Gyeongsang Province. Gyeongsangbuk-do Province, Kyungpook National University Toegye Research Institute.
  20. Cheng, Z. X., Rho, J. H. and Jiang, C.(2019). An Analysis of the Landscape Perception of Wuyi-Gugok in the First Half of the 18th Century Based on the Comparison of China's Wuyi-Gugok Painting. 2019 General Meeting and Spring Conference. pp.61-65.