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Taoism and Folk Painting of the Joseon Dynasty
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조선시대 도교와 민간회화

논문 기본 정보

Type
Academic journal
Author
Cho Insoo (한국예술종합학교)
Journal
한국민화학회 한국민화 No.7 KCI Candidated Journals
Published
2016.12
Pages
6 - 29 (24page)

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Taoism and Folk Painting of the Joseon Dynasty
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Arts of Taoism embrace art works which express the Tao, the essential idea of Taoism, in visual and material medium, and objects used in the Taoist rituals. However, it is very difficult to grasp the arts of Taoism in concrete because the interest in the arts of Taoism was far behind to that in the arts of Buddhism. To discourse on the arts of Taoism, it is necessary to look at the Taoist culture not through the literature but through the things, and to estimate the importance of art works focusing on the rituals.
Another reason why there seems to be less amount of Taoist paintings is that most of the landscape and flowers and birds are not regarded as Taoist paintings even though they have distinctive Taoist characteristics. The finely depicting paintings of the flowers and birds are not just describing plants and animals but uncovering auspicious signs, and the paintings of mysterious grandiose mountains are not the ordinary scene of the neighborhood, but are showing ideal enchanted land. Paintings of these kind should be categorized as Taoist paintings. In the Joseon Dynasty, which has adopted Confucianism as its governing ideology, Taoism declined abruptly and Taoist arts were hard to develop. However, famous painters of Joseon like Kim Myeongguk, Kim Hongdo, Shim Sajeong and Jang Seungeop have drawn many paintings of Taoist immortals. But Joseon’s paintings of Taoist immortals did not played the religious role and were not the means of faith like those of China. As the scholar-officials of Joseon accepted Taoist ideas and created poems about the Taoist immortals, the ideas of Taoist immortals were very popular and accordingly many paintings about them were depicted.
Among the folk paintings, examples of the presence of Taoist immortals are rare. On the contrary, in case of the paintings of shaman’s god, there are many paintings of gods which have importance in the Taoist paintings. During the Joseon Dynasty, the Taoist paintings had not developed as the official religious paintings and remained in the realm of shamanism. As these paintings of gods are the objects of worshipping which have miraculous power, they needed religious space and so they were hard to be consumed as secular folk paintings. Another reason why there remain so few Taoist paintings is that they were used not for appreciating and collecting but for warding off evil spirits and praying, so after using one time they were discarded.
If we broaden the domain of folk paintings, we could find more Taoist paintings. In the arts of Taoism, talisman, sign, diagram, and figure were frequently used to express Tao visually which is mysterious and without form. Therefore, in order to fully understand arts of Taoism, traditional category of paintings is not appropriate and it is necessary to include various images. Because these paintings were woodblock prints and widely used, they can be regarded as folk paintings. As talismans were burned out after using once, and were used secretly for the incantation, they were rarely found and transmitted. Only when we regard these kinds of objects as the Taoist paintings and include them to folk paintings, we probably could rightly apprehend arts of Taoism in the folk paintings of Joseon Dynasty.

도교미술은 도교의 핵심 사상인 도(道)를 시각적, 물질적으로 표현하는 미술품과 도교의 종교의례에서 사용되는 물건을 포괄한다. 그러나 도교미술을 구체적으로 파악하는 것에는 어려움이 따른다. 오랫동안 불교미술에 비해 도교미술에 대한 관심이 현저히 낮았기 때문이다. 도교미술을 이야기하기 위해서는 문헌이 아니라 물건으로 도교 문화를 살펴보고, 의례(儀禮)를 중심으로 미술품의 중요성을 따져보는 것이 필요하다.
도교회화의 수량이 적게 느껴지는 또 다른 이유는 산수화나 화조화의 경우 도교적 성격이 짙더라도 도교회화로 여기지 않기 때문이다. 정밀하게 묘사한 화조화는 단순히 식물과 동물을 그린 것이 아니라 상서로운 징조를 드러내는 것이고, 기이할 정도로 웅대한 산수화는 주변의 일상적인 풍경이 아니라 이상적 선경을 나타내는 경우가 많다. 이런 그림을 도교회화라고 해야 할 것이다.
유교를 치국의 이념으로 하는 조선에서는 도교는 급격히 몰락하고 도교미술은 발달하지 못했다. 그러나 김명국, 김홍도, 심사정, 장승업 등 조선시대의 유명 화가들은 신선도를 많이 그렸다. 조선의 신선도가 중국의 경우처럼 종교적인 역할을 수행하고 신앙의 수단이었던 것은 아니다. 조선의 사대부들 사이에서 도가사상을 수용하고 신선에 대한 시(詩)를 창작하는 것이 널리 퍼졌던 만큼 신선사상이 유행하면서 신선도가 많이 그려진 것이다.
현재 전해지는 민간회화 중에서 신선이 등장하는 사례는 드물다. 반면 무신도(巫神圖)의 경우 도교회화에서 중요한 부분을 차지하는 신화(神畵)가 많다. 조선시대에는 도교회화가 공식적인 종교회화로서 발달하지 못한 채 무속의 영역에서 남게 된 셈이다. 이들 신화는 영험을 지닌 숭배의 대상이었기에 종교적 공간을 필요로 했고 세속적인 민간회화로서는 소비되기 어려웠다. 민간회화에서 도교회화가 적은 또 다른 이유는 감상용, 소장용이기보다는 벽사, 기복용이었기 때문에 한번 사용하고 폐기해 버린 탓이다.
민간회화의 범위를 넓힌다면 더 많은 도교회화를 찾아 낼 수 있을 것이다. 도교미술에서는 신비하고 형체가 없는 도를 시각적으로 표현하기 위해서 부적, 기호, 도해, 도형 등을 많이 사용했다. 따라서 도교회화를 이해하기 위해서는 기존의 회화 범주로만은 부족하고, 다양한 이미지를 포함시킬 필요가 있다. 이런 그림들은 대개 목판화로 인쇄되어 널리 사용되었기에 민간회화라 할 수 있다. 부적의 경우는 한 번 사용하고 불 태워 버리는 경우가 많으며, 은밀하게 주술적으로 이용하는 만큼 잘 드러나지 않고 남아 전하지도 않는다. 이런 종류의 물건을 도교회화로 간주하고 민간회화에 포함시켰을 때 조선시대 민간회화 속의 도교미술을 제대로 파악할 수 있을 것이다.
#도교 #도교미술 #도교회화 #신선도 #민간회화 #부적 #세화 #Taoism #Taoist Art #Taoist Painting #Painting of Taoist Immortals #Folk Painting #Talisman #Sehwa(New Years Painting)

Contents

I. 도교미술, 도교회화
II. 조선시대와 도교미술
III. 민간회화와 도교
IV. 맺음말
참고문헌
국문초록
Abstract

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