明末清初版畫與朝鮮後期繪畫關係之研究

Abstract

自古以來，中、韓兩國的關係很密切，韓國在文化、思想、政治、社會、藝術、宗教等方面，多受到中國的影響是一個不可否認的事實，但是就其風俗、習慣、民族性、藝術的細節等方面，卻存在著不同而各具獨立的特性，這也是不可被忽略的一個面向。本論文以明末清初的中國版畫與朝鮮後期的繪畫為討論對象，研究兩國在不同的人文地理環境之下，如何發展出相似卻又具獨特性的繪畫風格，而期望透過本文的分析與研究，進一步瞭解中韓兩國在畫壇發展上的相互關聯性。 中國的版畫，從世界上現存最古的雕版畫「祇樹給孤獨園說法圖」開始，可以說是世界上最早發明的彩色套印技法，及至清代的木刻年畫等，對世界藝術畫壇的貢獻十分巨大。明末清初所發展出來的版畫藝術，隨著中、韓兩國交流頻繁，很快便傳入韓國，且對十八世紀至十九世紀的朝鮮後期畫壇產生了極大的影響。中國從十六世紀開始刊行的各種畫譜中，對朝鮮畫家之習作具有影響力的，以《顧氏畫譜》（1603年）、《唐詩畫譜》（1620年傾）、《集雅齋畫譜》（1621年）、《十竹齋書畫譜》（1627年）、《十竹齋箋譜》（1644年）、《芥子園畫傳》（1679年）為主，其中《顧氏畫譜》和《芥子園畫傳》在山水畫方面影響十分巨大。除上述畫譜之外，還有專刻山水版畫，如《海內奇觀》（1609年）、《名山圖》（1633年）、《太平山水圖》（1648年）等，亦對朝鮮山水畫頗具影響力。 明末清初刊行的中國版畫被朝鮮畫家在師法古人時加以利用，因此，這種依賴版畫來模仿中國古人畫作的情形，也讓朝鮮畫家的畫作，容易產生筆墨形式化的現象。另一方面，朝鮮畫家雖然參考明末清初版畫來創作韓國繪畫，但由於彼此的地理環境、民族性與繪畫思想等方面的不同，所呈現的畫風仍具有韓國畫作獨特的風格。 本論文總共分為五章，略述如下： 第一章 ：研究動機與目的；研究方法與範圍；版畫藝術的意義與重要性，以及中國版畫在韓國畫壇中的重要性。 第二章 ：介紹從唐代開始的版畫創作到明末清初華麗的版畫藝術發展過程，以建安、金陵、徽州、武林、蘇州的明末清初版畫為主，分析及瞭解其主要特色。 第三章 ：介紹朝鮮時代的歷史背景與思想；中、韓兩國交流的情況，以及將朝鮮繪畫分為初期、中期、後期、末期，分析其繪畫的風格發展情形，並對受到中國畫風影響的朝鮮畫家加以探討。 第四章 ：介紹明末清初畫譜，尤其是《顧氏畫譜》、《芥子園畫傳》、《唐詩畫譜》、《十竹齋書畫譜》對朝鮮後期繪畫之影響，朝鮮後期繪畫分為山水畫、人物畫、翎毛花卉、草蟲花卉，並與明末清初畫譜比較分析。此外，也將明末清初山水版畫，如《海內奇觀》、《名山圖》、《太平山水圖》，與朝鮮後期繪畫作品進行比較分析，並探討這些版畫的版本，從而瞭解中、韓、日三國版畫收藏的情況。 第五章 ：根據研究結果，針對過去明末清初版畫中對朝鮮後期繪畫影響極大的一些畫譜與山水版畫，給予重新定義與評價，並且尋覓其在畫史上的定位。最後介紹未來的展望與期待。

China and Korea have maintained a close interaction since ancient times. It is undeniable that Korea has been greatly influenced by China regarding culture, thoughts, society, art, religions, and so on. However, when it comes to smaller details on customs, habits, nationality, and art, there exist distinguished characteristics, which is one of the dimensions that is not to be neglected. This thesis takes Chinese woodcut paintings of the late Ming and Early Ching and the paintings of the late Chosun period as the subjects under discussion, delving into how, under different human and geographical environments, the two countries have developed similar painting styles that yet express their own uniqueness. Through the analyses and researches of this thesis, hopefully, the interrelations of the development of Chinese and Korean paintings can be understood. Starting from the oldest existing woodcut painting “the Garden of Anathapindada,” the earliest color overprint techniques invented in the world, to Ching woodcut New Year pictures, Chinese woodcut paintings have made tremendous contributions to the art world of paintings. With the frequent exchanges between China and Korea, the art of woodcut paintings developed during late Ming and early Ching was soon brought to Korea, and it greatly influenced the late Chosun painting society during the 18th and the 19th century. Among various painting manuals published from 16th century on in China, those which are the most influential to the development of Chosun paintings and painters’ practices are<Master Gu’s Painting Manual> (Ku Shih Hua Pu) (A.D.1603), <The Painting Manual of the Tan Poetry> (Tan Shih Hua Pu) (A.D.1602), <The Painting Manual of the Studio of Grace> (Chi Ya Chai Hua Pu) (A.D.1621), <The Calligraphy and Painting Manual of the Ten-Bamboo Studio> (Shih Chu Chai Hua Pu) (A.D.1627), and <The Drawing Manual of the Ten-Bamboo Studio > (Shih Chu Chai Chien Pu) (A.D.1644), <The Painting Manual of Mustard Seed Garden > (Chie Zhi Yuan Hua Chuan) (A.D.1679). Amid them, <Master Gu’sPainting Manual> (Ku Shih Hua Pu) and<The Painting Manual of Mustard Seed Garden > (Chie Zhi Yuan Hua Chuan) are extremely influential when it comes to landscape paintings. In addition to the above painting manuals, there are also landscape woodcut paintings such as <Wonders of the Nation> (Hai Nei Chi Kuan) (A.D.1609), <Paintings of Famous Mountains> (Ming Shan Tu) (A.D.1633), and <Tai-Ping Landscape Paintings> (Tai Ping Shan Shuei Tu) (A.D.1648); they also greatly influence Chosun landscape paintings. Chinese woodcut painting published during the late Ming and early Ching were adopted by Chosun painters when modeling themselves on predecessors. Therefore, the condition of relying on woodcut paintings to imitate ancient Chinese paintings has contributed to the tendency of the formalization of painting techniques among Chosun painters. Yet, while Chosun painters take woodcut paintings of the late Ming and early Ching as references when drawing Korean paintings, owing to the differences in geographical environments, nationality, and painting philosophies, the painting style conveyed in Korean paintings still expresses uniqueness. This thesis is divided into five chapters, which are briefly stated as follows: Chapter One: Research motivation and goals; research methods and scope; the meaning and importance of the art of woodcut paintings, as well as the importance of Chinese woodcut paintings in the society of Korean paintings. Chapter Two: Introduces the development of woodcut paintings, starting from the initial creation of the art form in the Tang dynasty, to the splendid art of woodcut paintings during the late Ming and early Ching. Analyzes and understands the main features of woodcut paintings of the late Ming and early Ching by studying works from Chian-An, Ching-Ling, Huei-Chou, Wu-Lin, and Su-Chou provinces. Chapter Three: Introduces the historical background and the thoughts of the Chosun period, and the interaction between China and Korea. Divides Chosun paintings into the early, the middle, the late, and the terminal periods to analyze the development of their painting styles, while probing into the Chosun painters under the influence of Chinese painting styles. Chapter Four: Introduces painting manuals of the late Ming and early Ching, especially the influence<Master Gu’s Painting Manual> (Ku Shih Hua Pu), <The Painting Manual of the Mustard Seed Garden > (Chie Zhi Yuan Hua Chuan), <The Painting Manual of the Tan Poetry>(Tan Shih Hua Pu), and <The Painting Manual of the Ten-Bamboo Studio> (Shih Chu Chai Chien Pu) cast on the paintings of the late Chosun period. The paintings of the late Chosun period are divided into landscape, figure, bird and flower, and insect and flower paintings; they will be under comparison and analysis along with the paintingmanuals of the late Ming and early Ching. Moreover, landscape woodcut paintings of the late Ming and early Ching, such as<Wonders of the Nation> (Hai Nei Chi Kuan), <Paintings of Famous Mountains> (Ming Shan Tu), and <Tai-Ping Landscape Paintings> (Tai Ping Shan Shuei Tu), will also be compared and analyzed along with the paintings of the late Chosun period. There will also be discussions on the different versions of the paintings mentioned above, so as to obtain a picture of the status quo of woodcut paintings collection in China, Korea, and Japan. Chapter Five: Based on the research results, redefines and evaluates the painting manuals and landscape woodcut paintings of the late Ming and early Ching that cast tremendous influence on paintings of the late Chosun period, as well as seeking for an adequate position for them in the painting history. The last part of the thesis rests on personal visions and expectations of the future.