本文試由鈐蓋有「文清」印的《仿郭熙山水圖》（私人藏）來重建高麗、朝鮮王朝前期山水畫與宮廷收藏間的關係。本圖最近方被發現，而在2016年秋季開展的「朝鮮王朝的繪畫與工藝展」（於奈良大和文華館）初次公開。觀看此圖，最先讓人想起北宋時代的山水畫名品郭熙《早春圖》（1072年，臺北國立故宮博物院藏）是毋庸置疑的。畫面全體上，墨的濃淡巧妙調節畫中縱深空間的表示，雙松與蟹爪樹的組合、樹木大小的比率，等量調整畫面縱深這幾點與之共通，較之元唐棣《仿郭熙秋山行旅圖》（臺北國立故宮博物院藏）等仿效北宋畫的元代李郭派作品，可說是更嚴密地保有古樣。

觀察本件作品，細節都達到極為正確的宋畫理解，這種前提之下，不難想像原圖本身也是一件優良的作品。《林泉高致集》記錄北宋神宗皇帝（1068－1085在位）厚待郭熙的事蹟，其中提到「作《秋景》、《煙嵐》二，賜高麗」之句，可知神宗曾將郭熙畫的兩幅圖賜予高麗。另外，遣使金良鑑等在熙寧七年（1074）1月謁見神宗，除了已賜予高麗文宗的郭熙繪畫之外，尚且耗費巨額積極地收集中國繪畫以帶回高麗，據此事蹟而論，顯示當時要再入手真蹟已十分困難。於此之後，元代李郭派的影響便又更加顯著。因此，如果原圖不是來自明朝，而來自高麗時代的話，便不能否認原圖即為神宗下賜的《秋景圖》之可能性。本件作品不通過元代李郭派的視角，不基於明代前期宮廷畫院整頓後的繪畫表現，而上溯直接學自北宋的原畫，可視為以安堅為中心的復古主義之展現。以此結果來看，這應是因當時明確的文化意識所致。

This paper examines the painting “Landscape in the Style of Guo Xi” (privately collected) with the seal of “Bunsei” to reconstruct the relationship between landscape paintings and court collections in early Goryeo and Joseon dynasties. Recently discovered, the landscape painting was displayed publicly for the first time in fall of 2016 in the Exhibition of Paintings and Crafts in the Joseon Dynasty at the Museum Yamato Bunkakan in Nara, Japan. At first viewing, the work is undoubtedly reminiscent of the famous Northern Song landscape, Guo Xi’s “Early Spring” (1072, collected by National Palace Museum, Taipei). In the work’s overall composition, the expression of spatial depth is ingeniously adjusted using thick and thin ink. Moreover, the combination of two pine trees and “crab-claw” trees, the size ratio of the trees, and quantitative depth are common features shared by the two works. However, “Landscape in the Style of Guo Xi” can be said to have preserved the old styles more strictly when compared with Tang Di’s “Travelers in Autumn Mountains” (collected by National Palace Museum, Taipei) or other Li-Guo School’s paintings of the Yuan period in imitation of Northern Song works.

Close observations of the details in “Landscape in the Style of Guo Xi” reveal the painter’s precise understanding of Song painting. Under this premise, it is not difficult to imagine that the original landscape painting is an outstanding work as well. Emperor Shenzong of Song (1048–1085) bestowed two authentic paintings of Guo Xi brought back by the envoy Kim Yang-Gam, which were certainly rare treasures at the time. Since then, the influence of the Li-Guo School of the Yuan period had increased significantly. If the original of “Landscape in the Style of Guo Xi” was derived from the Goryeo period rather than the Ming dynasty, it might very likely be “Autumn Scene,” a gift from Emperor Shenzong of Song. “Landscape in the Style of Guo Xi” does not adopt the perspective of the Li-Guo School or appeal to the styles of expression rectified by the court painting academy in the early Ming dynasty. Rather, it dates back directly to the original from the Northern Song dynasty, and can thus be viewed as a reactionary movement surrounding An Gyeon during the Joseon period. In short, this imitation can be regarded as a heritage of the Goryeo culture as well as a product of the early Joseon dynasty’s explicit awareness of its aspiration to the Northern Song dynasty and to the revival of the dynasty’s painting styles.

郭熙山水; 高麗宮廷收藏; 安堅; 朝鮮山水畫

Guo Xi’s landscape paintings; Goryeo court collections; An Gyeon; Joseon landscape paintings