다보각경의 형성과정 고찰을 통한 책가도 연원 연구

Abstract

Chaekgado appeared in the mid-18th century in Joseon and became popular after the 19th century. Opinions have been formed that the creation of chaekgado originated from the Chinese western-style paintings of doubaogeand was influenced by the visual and material culture of China. The origins of chaekgado can be traced back to a studiolo, a small study room used by Italian nobility, which spread to Germany, England, and France where works called "cabinets of curiosities" were created. At that time in China, doubaoge, furniture for interior decoration, was very popular as part of a hobby of collecting rare objects and paintings and calligraphic works, and a desire to display such collections. Shining Lang, an Italian Jesuit missionary who was active as a court painter for the Qing Dynasty, painted duobaogejingtu by combining the perspective and shading methods of Western paintings; such style of painting established itself as a culture. It is estimated that it spread to Joseon after that, and developed into chaekgado. In recent years, chaekgados painted in the Joseon period have been introduced to the public through special exhibitions by major overseas art museums, and local visitors were attracted to the vibrant colors and the compositional beauty of the various items properly arranged in the paintings. Such interest led to their publication in magazines and news reports, providing an opportunity to re-evaluate chaekgado. With the purpose of understanding the formation process of chaekgado in Joseon, this study examined the historical background and development of duobaogejingtu, which could be regarded as the predecessor of chaekgado, in China, and explored the process by which it spread. To this end, previous studies related to chaekgado and duobaogejingtu were reviewed, and various related literature written in China on duobaogejing, the main objects of duobaogejingtu, were collected and analyzed. Previous studies related to chaekgado in Korea only vaguely inferred the initial aspects of chaekgado being transmitted and accepted, and there were limitations when it came to confirming them clearly due to a lack of specific historical materials. In addition, most of the studies of chaekgado focused on the formation of chaekgado in the late Joseon era, but they did not seem to have much interest in duobaogejingtu, which was supposed to be the background. Understanding the sociocultural background of duobaogejingtu, the predecessor to chaekgado, will lead to a deeper insight into chaekgado in the late Joseon. From this point of view, the study of duobaogejingtu and its objects, duobaogejing, could be considered an essential process in the study of chaekgado. The most similar to chaekgado is the duobaogejingtu drawn by Shining Lang and applied with trompe l'oeil (an art technique in which objects are painted in a very realistic way), a unique type of painting in which the realistic expression technique of Western paintings was combined with the Chinese wanshang culture. Duobaogejing, objects of duobaogejingtu, was also called baishenjian, baishijian, or baishijian in various literature and records. Looking at what it actually means, however, it was a generic term for furniture that stored valuables for appreciation, such as artworks and antiques in a grid of various sizes according to a certain rule. As for the origin of duobaogejing, it is said that it developed from a royal display item called baishenjian, or baishejian, through xiaoduobaoge, to duobaoge, and that it originated from baibaoxiang or portable stationery cases in the Ming Dynasty. Basically, duobaogejing had the function of storing and protecting the contents, and it was elaborately designed by utilizing the space well to hold various small-sized valuables for appreciation. As it enabled the utilization of limited space, and the arrangement of various objects in a harmonious way, it developed into a form that had a decorative function as a small exhibition in itself. It can be considered that the development and spread of doubaogejing was related to the prosperity of the visual and material culture in the Qing Dynasty period. The prosperity and stability of Qing society laid the foundation for the trend of doubaogejing, and it was able to develop under the influence of the emperor's preference for art. Furthermore, as the nobility and scholars followed the taste of emperors, the upper class of the Qing Dynasty enjoyed a culture of valuing art and appreciating relevant collections. Since duobaogejing was the best object to store these works of art, the production techniques were constantly improved during that period. Duobaogejing was used in various patterns and decorations as well as paintings under the visual and material culture of the Qing Dynasty, so it influenced the spread of material culture and the formation of chaekgado in Joseon, but was not actively spread from the beginning. This was because with the fall of the Ming Dynasty and the rise of the Qing Dynasty, a new order was formed in East Asia; Joseon, which had to form a humiliating, though nominal, relationship of ruler-and-ruled with Qing, inevitably developed an animosity toward Qing. With the reign of King Jeongjo, Joseon's negative perception of Qing culture gradually changed. Joseon intellectuals actively evaluated the Qing culture and sought its introduction, and followed the culture along with the theory of Bukhak, which had been advocated since the time of King Yeongjo. Contrary to the intention of King Jeongjo, who was wary of the spread of luxurious trends in society, they showed an open attitude toward the culture as a whole, and the acceptance of the culture seems to have increased and spread widely beyond the leadership of society. It was found that in such circumstances, chaekgado influenced by duobaogejingtu began to be painted, and spread in Joseon.