石濤, 近代의 個性이라는 평가의 시선

서지정보

ㆍ발행기관 : 한국미술연구소 ㆍ수록지정보 : 美術史論壇 / 33권
ㆍ저자명 : 문정희

영어 초록

Today, in the history of Chinese paintings, Shi-Tao(石濤, 1642-1707) has been widely recognized from the perspective of the ‘individual school’. This is the result of ongoing and consistent research. In particular, this study has been focused by artists and historians in 20th Century despite the ambiguity of authenticity in grasping the characteristics of the formalistic style. This phenomenon of the research on Shi-Tao would be closely related with Chinese nationalism called as anti-Qing awareness and the historical view of anti-Imperialism.
In this point, this study puts weigh on a new perspective as the renovation of anti-siwang(反四王) or lin-mo(臨摹, imitation) in the tradition of lin-mo according to the rise of traditionalism loomed large in the 20th century in China. The reason is because a pictorial perspective was also born in the ‘modern’ view which considered Shi-Tao as an individual school and is because individualism, which is called originality, was affected by the attention of evaluation in the whole of Chinese arts today.
Shi-Tao, who was paid attention too by both traditionalism(傳統主義) and reformism(改良主義) which are the two main streams in the development of Chinese paintings, can be considered that he presented modern explanations in different ways in that the two school showed individuality.
Thus, in this writing, I focus on the point that Shi-Tao was accepted in the standpoint of subjective individuality, ‘Impressionist Style’ of contemporary art, to individualists. Also, I would like to concentrate on the point that Shi-Tao was the object of renaissance of traditionalism as an alternative to overcome siwang school.
In the popularity of Shi-Tao which became more intensified in coming into the 20th century, the modern meaning, in which Shi-Tao was accepted as a value of a painting in the literary artist’s style re-evaluated with nan-ga’s coming to the fore as the classics of the Orient in Japan, can be found. Also, Shi-Tao became in the limelight as the collection of collectors circulating as an ancient tradition in the art market of metropolis in China. This coeval popularity rather enacts the dynamic of the classics of the Orient as colonialism in Korean modern arts in Korea and is still analyzed in the modern phenomenon.

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