조희룡의 임자도 유배시절 회화 창작의 의미와 기능 |
손명희 |
국립고궁박물관학예연구관 |
Significance and Function of Jo Huiryong’s Painting in Exile to Imja Island |
Myunghee Son |
Curator, National Palace Museum of Korea |
Correspondence:
Myunghee Son, |
Received: 30 November 2019 • Revised: 17 December 2019 • Accepted: 9 January 2020 |
Abstract |
Exiled to Imja Island in 1851 due to involvement in a fatal controversy over court ritual, Jo Huiryong turned to admire Su Shi so ardently as to identify himself with the Chinese cultural luminary; and Jo even tried, like Su did, to get over desperation and resentment in exile through dedication to art. Significantly, he has solidified the identity as an artist by immersing himself in brush and ink while banished.
To Jo the painting in exile was a vehicle for giving vent to boredom and depression. For instance Album of Rocks and Orchids in the Ogura Collection and Frosty Clouds amid Desolate Mountains in a private collection alike express the painter’s uneasiness and indignation while demonstrating a self-claimed state of “daubing in rapture and scraping away in delirium.” On the other hand, a bamboo thicket surrounding the place of exile helped Jo Huiryong develop bamboo painting in ink and reach stylistic maturity. Jo took so much pride in the achievement that he claimed to outdo Sin Ui.
During the isolated period, the activity of painting provided Jo with a channel to the society. Painting served as a message runner, traveling afar to keep bonds with hearty associates and conveying his life, thoughts, and wishes. In addition, as is the case with Red and White Plums made at the request of his friend Na Gi, Jo’s paintings for friends and associates have not only acted as a medium of communication but also become a source for viewers to compose poems after; and the poetic words have, in turn, enriched and enlarged the meanings of Jo’s image. |
Key Words:
Jo Huiryong, Su Shi, Dongpo, Exiled literatus, Paintings created in exile, Imja Island, Middle-class |
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