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초록· 키워드
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Heo Ryon (許鍊: 1809-1892, nom de plume: Sochi (小癡)) has been acknowledged as the most important painter together with Chang Song-op (張承業) at the artist's world of Choson at the last period of the Choson Dynasty (about 1850-1910). Heo Ryon s pictures got praised to the utmost by Kim Chong-hui (金正喜), a great scholar at the end of Choson and still have great influence on modem Korean artist s world in Honam (湖南) areas, but research into him has not been made fully.
In spite of wide reputation of him and his influence on later generation, research into Heo Ryon has been meager firstly because of negative view of overall history of the last period of Choson. Although approach to history of the last period of Choson from a new point of view is made recently, negative cognition still exists. As to paintings, works at the last period of Choson are still negatively evaluated as retrogression or conservation of those at the later period of Choson. In addition, I think another reason is that researches made till now have been concentrated mainly on Kim Chong-hui. Besides the above reasons, another obstacle to understanding his artistic world is that among Heo Ryon's works, common works are better known to us than excellent ones.
《Horocheop 葫蘆帖》 found recently by the 'society for the study of Sochi' is a picture album which Heo Ryon made by copying works of Mi You-ren (米友仁), Tung Ch' i-ch' ang (董其昌), etc. of China and famous painters such as Chong Son (鄭敾), Kim Chong-hui, etc. of Choson when he was 60 years old. It consists of 29 pieces of pictures and 3 pieces of writings, through which we can see how he completed his world of pictures, seeing what kind of pictures. Age 60 is the time when general artists show shade of falling into decay if we judge on the basis of existing achievement result, But 《Horocheop》 shows matured expressing ability. That is, 《Horocheop》 enables us to know matured painting ability of an old painter and it is also an example to show that copy was his continuous training works even at the time of his old age.
10 pieces of work among 《Horocheop》 were made by copying Choson painters' works and 8 pieces were made by copying Chinese painters'. Works he copied his teacher, Kim Chong-hui's works are 6 pieces, 3 pieces are Tung Ch' i-ch' ang's, 2 are Chong Son's, and 7 are Mi You-ren's, Wang meng (王蒙)'s, Kao ko-kung (高克恭)'s, Wen Chia (文嘉)' s, Mo Shih-lung (莫是龍)'s, Yun Dok-hui (尹德熙)'s, Yi Gwang-sa (李匡師)'s respectively. 12 pieces of work are made by copying 『Goshihuahao 高氏畵譜』. And from the fact that most of them are landscapes copying Ni Tsan (倪瓚)'s or Wu School (吳派) trend's works of Ming Dynasty, we can actually feel his tendency of Painting of the Southern School (南宗畵).
Pictures in 《Horocheop》 show so excellent skill of Heo Ryon that we can even change the existing evaluation of his pictures which is summarized as ''Free-spirited touch on the basis of structure and manner of Huang kung-wang (黃公望) and Ni Tsan". Evaluation of Heo Ryon made till now hasn't strayed from "painter acknowledged most by Kim Chong-hui or "founder of traditional artist world of Honam areas", etc. in general. I think that such evaluation coincides with fact in some aspect, but deeper analysis of his status as a painter and his creative disposition, etc. hasn't been fully made. In addition, approach to discriminating Heo Ryon's viewpoint from trucklers' including Kim Chong-hui and from his middle class (中人) colleagues' hasn't been made, which is remaining assignment for us to solve.
In spite of wide reputation of him and his influence on later generation, research into Heo Ryon has been meager firstly because of negative view of overall history of the last period of Choson. Although approach to history of the last period of Choson from a new point of view is made recently, negative cognition still exists. As to paintings, works at the last period of Choson are still negatively evaluated as retrogression or conservation of those at the later period of Choson. In addition, I think another reason is that researches made till now have been concentrated mainly on Kim Chong-hui. Besides the above reasons, another obstacle to understanding his artistic world is that among Heo Ryon's works, common works are better known to us than excellent ones.
《Horocheop 葫蘆帖》 found recently by the 'society for the study of Sochi' is a picture album which Heo Ryon made by copying works of Mi You-ren (米友仁), Tung Ch' i-ch' ang (董其昌), etc. of China and famous painters such as Chong Son (鄭敾), Kim Chong-hui, etc. of Choson when he was 60 years old. It consists of 29 pieces of pictures and 3 pieces of writings, through which we can see how he completed his world of pictures, seeing what kind of pictures. Age 60 is the time when general artists show shade of falling into decay if we judge on the basis of existing achievement result, But 《Horocheop》 shows matured expressing ability. That is, 《Horocheop》 enables us to know matured painting ability of an old painter and it is also an example to show that copy was his continuous training works even at the time of his old age.
10 pieces of work among 《Horocheop》 were made by copying Choson painters' works and 8 pieces were made by copying Chinese painters'. Works he copied his teacher, Kim Chong-hui's works are 6 pieces, 3 pieces are Tung Ch' i-ch' ang's, 2 are Chong Son's, and 7 are Mi You-ren's, Wang meng (王蒙)'s, Kao ko-kung (高克恭)'s, Wen Chia (文嘉)' s, Mo Shih-lung (莫是龍)'s, Yun Dok-hui (尹德熙)'s, Yi Gwang-sa (李匡師)'s respectively. 12 pieces of work are made by copying 『Goshihuahao 高氏畵譜』. And from the fact that most of them are landscapes copying Ni Tsan (倪瓚)'s or Wu School (吳派) trend's works of Ming Dynasty, we can actually feel his tendency of Painting of the Southern School (南宗畵).
Pictures in 《Horocheop》 show so excellent skill of Heo Ryon that we can even change the existing evaluation of his pictures which is summarized as ''Free-spirited touch on the basis of structure and manner of Huang kung-wang (黃公望) and Ni Tsan". Evaluation of Heo Ryon made till now hasn't strayed from "painter acknowledged most by Kim Chong-hui or "founder of traditional artist world of Honam areas", etc. in general. I think that such evaluation coincides with fact in some aspect, but deeper analysis of his status as a painter and his creative disposition, etc. hasn't been fully made. In addition, approach to discriminating Heo Ryon's viewpoint from trucklers' including Kim Chong-hui and from his middle class (中人) colleagues' hasn't been made, which is remaining assignment for us to solve.
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