| 국립중앙박물관 소장 金弘道 〈醉後看花圖〉의 재검토 |
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유 옥 경 |
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이화여자대학교 박사 |
| Revisiting Watching Flowers after Drink by Kim Hong-do |
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Ok-kyong Yu |
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Ph.D., Ewha Womans University |
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Received: 3 March 2019 • Revised: 6 April 2019 • Accepted: 28 April 2019 |
| Abstract |
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Part of Chinese Narrative Figure Paintings (the folding screen of eight panels now in the collection of the National Museum of Korea) by Kim Hong-do (1745-after 1806), Watching Flowers after Drink (Chwihu ganhwa-do) has been introduced as relating a classical story in which Chinese poet Lin Bu (967-1028) led a reclusive life in Solitary Mountains of West Lake taking a plum tree and a crane as beloved companions. Re-examination of its title and of the ways in which pictorial motifs are arranged, however, suggests that the painting is a Shao Yong’s Anle-wo that depicts the distinguished thinker Shao Yong (1011-1077) of the Northern Song dynasty (960- 1127) who secluded himself in a residence called Anle-wo (Korean, Allagwa: Nest of Contentment and Pleasure) in Luoyang to practice a Confucian virtue of “being contented in poverty and taking pleasure in the Way.”
Watching Flowers features meticulous brushworks and a neat composition. Its title implies a concept of “observation of things” (guanwu) that Shao promoted in Anle-wo as a way to an integrated understanding of nature and human via principles of things. The hermitage in the composition represents Anle-wo where the Chinese philosopher pursued the life of “being contented in poverty.” Likewise, the plum flowers allude to his theory of Yijing. The crane also associates Shao who retreated to the reclusive abode with “a scholar of crane’s calling.” Ultimately Watching Flowers exhibits thriving vigor of the period of peace and prosperity, ref lecting essential ideas of Shao’s philosophy including “observation of things,” “before Heaven (xiantian) cosmological learning,” and “Allag (Chinese, anle: contentment and pleasure)” |
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