무로마치(室町) 수묵화와 조선 초기 회화: 슈분(秀文), 슈분(周文), 분세이(文淸)를 둘러싼 쟁점들

서지정보

· 발행기관 : 한국미술연구소
· 수록지 정보 : 美術史論壇 / 36권
· 저자명 : 장진성

영어초록

This essay explores the artistic interaction between Muromachi ink painting and early Joseon landscape painting by examining the lives and works of Shūbun (active ca. 1424), Shūbun (active early fifteenth century), and Bunsei (active 1440s-1460s). The identity of Shūbun, the author of the controversial Ink Bamboo album, dated 1424, now in a private collection, has long been debated. It is still unclear whether he came to Japan from Korea. It is certain, however, that the rock formations in the album show a distinctive stylistic influence from early Joseon paintings. There is another Shūbun who was active during the sixteenth century. He immigrated to Japan from Ming China and became a member of the Soga clan through marriage. He was famous for his paintings and has been known as “Soga Shūbun,” “To Shūbun (China Shūbun),” or “Tojin Shūbun (Chinese Shūbun). The Zen monk-painter Shūbun, active during the first half of the fifteenth century accompanied the Japanese envoys to Korea in 1423. He returned to Japan in the following year. Close examination of various records suggests that he could have visited Korea the year before. Although he visited Korea, it is almost impossible to know whether he had contacts with Korean painters and what he did during his stay. None of his genuine paintings has survived. Given that there is no extant authentic painting by Shūbun, it is extremely difficult to understand the artistic interaction between Shūbun and early Joseon painters and what Korean paintings had an impact on the formation of his style. Bunsei, a painter active during the second half of the fifteenth century, had long been forgotten and misidentified as Josetsu until 1922 when the Japanese scholar Fukui Rikichiro rediscovered the artist and his work. Bunsei received commissions from Daitokuji and Shōkokuji monks and painted portraits of Zen monks as well as landscapes. He is thought to have visited Korea. But deeper study reveals that he never visited Korea. It is the Nanzenji Zen monk Bunsei who visited Korea in 1468. There is yet another Bunsei who has been confused with the painter Bunsei. This Bunsei was also a painter famous for his extant painting Water Buffalo. The identities of the three Bunseis have been controversial. What is certain is that the first Bunsei never visited Korea and his extant paintings show no direct stylistic influence from early Joseon painting. There are at least four paintings bearing Bunsei’s seal and showing the stylistic hallmarks of the early Joseon master An Kyŏn (active 1440-1470). The seal on the paintings is currently thought to have been fabricated during the Edo period and have nothing to do with the painter Bunsei in question. The seal was added to make the paintings appear to be works by Josetsu who had been completely confused with Bunsei. Both Japanese and Korean scholars have paid too much attention to Shūbun, Shūbun, and Bunsei in their research on the artistic interaction between Muromachi ink painting and early Joseon landscape painting. The lives and works of the three painters do not seem to make significant contributions to our understanding of the topic. It is time to direct our attention to minor and underestimated painters and paintings that will shed new light on the artistic relationship between Korea and Japan.

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