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초록· 키워드
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This paper analyzes political significance in west lake paintings of the Qing royal court, based upon backgrounds and styles of Ten Views of West Lake(西湖十景圖, Liaoning Provincial Museum) by orthodox school court painter, Wang Yuanqi(1642~1715). West lake painting is a painting of the west lake and surrounding landscape in Hangzhou, Zhejiang Province. West lake harmonizes the element of a beautiful landscape; it was a place with traces of scholars where literary artists of generation after generation were fond of; and it received a great admiration. This place was considered as one of the most ideal landscapes, together with the Eight Views of the Xiao and Xiang Rivers(瀟湘八景) and the Nine Sceneries of Muyi Mountains(武夷九曲), and that it had been discussed as subject of painting from earlier times. West lake painting began to be considered as a subject in earnest after transfer of the capital from Nan-song to Lin’an. After then, it was painted with different objective and significance based on its time and subject. Especially during Qing Dynasty, more west lake paintings were produced in the royal court compared to other times, because as the Emperor Kangxi(康熙帝) and Emperor Qianlong(乾隆帝) traveled south numerously, they recited poetry of its moist and lyrical landscape, and then let artists to paint the reflection.
Ten Views of West Lake by orthodox school painter, Wang Yuanqi from the royal court of Qing Dynasty in Kangxi Ages(1661~1722), which was painted after receiving orders from the Emperor, remains to be the most precedence west lake painting of the Qing royal court. It forms over 6 meters long in a panoramic view with west lake and its surrounding mountains, together with Buddhist temple, shrine, pavilion, and pier. It was painted after the Emperor Kangxi finished his 6th and the last travel to north in 1707. Ten Views of West Lake is depicted by recombining each picture of the views that are faced, by traveling the bank of the west through a boat. It presents a different composition compared to other traditional west lake paintings which were inherited with illustration of a tour guide(遊覽志) and province records(方志), and the West Lake that is known to be painted by Lichong(傳 李崇). A development of the painting is corresponded mostly with a route that the Emperor Kangxi took to west lake, which was analogized from the history of the Emperor Qianlong’s travel to South. Major attractions of west lake were portrayed and sceneries were illustrated in detail and rather realistically, compared to the views from nature. Especially, the places where a trace of the Emperor Kagxi remains – that cannot be seen visually anymore – are depicted based on the changes in time, and movement of the place. Moreover, Ten Views of West Lake well reflected the Emperor’s demand of importance in collection and conveyance of geographical information; it sought to include as much messages as possible of west lake in a limited picture, and a complete trace of the Emperor as a document of his travel to west lake.
Ten Views of West Lake by orthodox school painter, Wang Yuanqi from the royal court of Qing Dynasty in Kangxi Ages(1661~1722), which was painted after receiving orders from the Emperor, remains to be the most precedence west lake painting of the Qing royal court. It forms over 6 meters long in a panoramic view with west lake and its surrounding mountains, together with Buddhist temple, shrine, pavilion, and pier. It was painted after the Emperor Kangxi finished his 6th and the last travel to north in 1707. Ten Views of West Lake is depicted by recombining each picture of the views that are faced, by traveling the bank of the west through a boat. It presents a different composition compared to other traditional west lake paintings which were inherited with illustration of a tour guide(遊覽志) and province records(方志), and the West Lake that is known to be painted by Lichong(傳 李崇). A development of the painting is corresponded mostly with a route that the Emperor Kangxi took to west lake, which was analogized from the history of the Emperor Qianlong’s travel to South. Major attractions of west lake were portrayed and sceneries were illustrated in detail and rather realistically, compared to the views from nature. Especially, the places where a trace of the Emperor Kagxi remains – that cannot be seen visually anymore – are depicted based on the changes in time, and movement of the place. Moreover, Ten Views of West Lake well reflected the Emperor’s demand of importance in collection and conveyance of geographical information; it sought to include as much messages as possible of west lake in a limited picture, and a complete trace of the Emperor as a document of his travel to west lake.
목차
Ⅰ. 머리말
Ⅱ. 淸 宮廷의 西湖圖 제작 배경 및 양상
Ⅲ. 왕원기의 〈西湖十景圖〉
Ⅳ. 〈西湖十景圖〉에 담긴 정치 · 문화적 함의
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (49)
참고문헌 신청
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