신라 회화의 재구성

서지정보

ㆍ발행기관 : 한국미술연구소 ㆍ수록지정보 : 美術史論壇 / 35권
ㆍ저자명 : 홍선표

영어 초록

Silla paintings comprise a one-thousand-year-long history in the Korean painting history. However, due to the lack of extant historical texts and artworks, little research has been done on the history of Silla paintings. As a result it is difficult to approach and fully understand Silla art. In order to trace the different stages of development in Korean art history, it is crucial to reconstruct and rediscover the history of painting in Silla. In this study, I propose a new reading of the development of Silla’s painting history through retracing the historical records, and reconstructed the stylistic development of Silla art through a close analysis of craft paintings, tomb mural paintings, and sutra frontispiece illustrations (sagyeonghwa).
The history of Silla painting began in the fifth and sixth centuries, a period during which Silla imported Buddhism and established a centralized government. Buddhist paintings seem to have flourished around the fifth year of King Jinheung (544), when Heungryun-sa temple was constructed. Silla was influenced by the painting styles of China’s Northern and Southern Dynasties and achieved notable advancements in flower paintings, animal paintings, and Daoist figure paintings during the reign of King Jinpyeong (579–632). During Queen Seondeok’s reign (632–647), Silla established and operated the chejeon, an official bureau responsible for directing the use of painting pigments.
Silla painting reached its pinnacle in the work of Solgeo, who is assumed to have been the finest state craftsman (gukgong ) or government artisan (gwanjang ) of the period. Solgeo was active around the mid- seventh century and was the first artist to successfully establish a realistic painting style, which he adopted from the paintings of Zhang Sengyao in China.
After Silla unified the three kingdoms, its paintings were exported to Japan or sent as tribute to Tang China. Two of Silla’s artisans, Bokmaryeo and Banmanryeo, were active in Japan as high-status official painters. During the Unified Silla period, in addition to Buddhist paintings, subjects related to Confucianism were newly employed as painting themes, adding variety. Stylistically, Wu Daozi’s painting style in eighth-century Tang seems to have had the greatest influence on the flowering of Unified Silla’s painting style. During the eighth year of King Weonseong (792), when Silla sent young women as a tribute to Tang, it acquired several paintings by Zhou Fang. Zhou was renowned for his paintings of Tang court ladies (sanyeo, Chinese shinü), and his painting style greatly influenced late Goryeo Buddhist paintings.
Finally, historical records reveal that royal portraits were painted and enshrined in temples during the Silla period, a tradition which continued into the Unified Silla period. The custom of enshrining portraits also existed among aristocrats, and portraits of monks began to be produced during the Unified Silla period. The tradition of posting images of Cheoyong (the son of the East Sea Dragon) on doors to dispel evil spirits and bring good fortune was also established. Historical records documenting the purchase and collection of Zhou Fang’s paintings during the Silla period demonstrate that art collecting had become a socio-cultural focus. Furthermore, inscriptions and critiques of paintings by Choe Chiwon (857-?) also provide evidence that, by the late Silla period, paintings were regarded as objects of aesthetic and artistic appreciation.

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