| 구분 |
미술용어 |
표기
(권고안) |
국문 석파란영문 Seokparan한문 石坡蘭중문 石坡兰일문 石坡蘭
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| 비고/구분 |
미술용어 |
| 개념정의 |
흥선대원군 이하응(李昰應, 1820~1889)의 호 석파(石坡)를 따서 이름붙여진 개성적 묵란화를 가리킨다. 이하응은 낭인으로 떠돌던 30대에 김정희(金正喜)에게 묵란을 배운 다음 스승의 『난맹첩(蘭孟帖)』을 임모(臨摸)하거나 정섭(鄭燮), 나빙(羅聘) 등 양주 화파의 작품에서 영향받으며 자신만의 화풍을 모색하였다. 정권에서 물러난 1874년 봄부터 1876년 6월까지 머문 직곡산방(直谷山房)에서 뿌리가 드러난 노근란(露根蘭)을 지그재그로 배치한 군란도(群蘭圖), 화면의 측면에서 솟아난 바위를 중심으로 난을 위아래에 그린 석란도(石蘭圖), 세로로 긴 화면에 난엽(蘭葉)을 가로로 길게 그린 총란도(叢蘭圖) 형식을 시도하였다. 이후에는 군란도나 총란도보다 석란도를 반복적으로 그리며 석파란을 완성하였다. 김응원(金應元, 1855~1921), 나수연(羅壽淵, 1861~1927) 등을 통해 근대 화단으로 계승되면서 전통과 근대를 잇는 가교 역할을 했다는 점에서 미술사적 의미를 지닌다. |
| 개념정의(영문) |
Seokparan refers to the unique style of mukranhwa (ink painting) practiced by Heungseon Daewongun, the father of Gojong. Heungseon Daewongun＇s name was Lee Ha-eung, and Seokpa was his courtesy name. In his 30s, when he was a vagrant, Heungseon Daewongun learned how to paint mukranhwa from Kim Jeong-hee, and he imitated the nanmaengcheop style of his teacher. He was also influenced by the works of the Yangju School of painters, which included painters such as Jeong Seop and Na Bing, and he developed his own unique style. From the spring of 1874 to June 1876, after retiring from politics, he experimented with different styles: the Gunrando, in which the nogeunran (visible roots of the orchids) at the Jikgoksanbang, where he was staying, were arrayed in a zig-zag; the Seokrando, in which orchids were painted from top to bottom, centering around stone formations rising from the sides of the painting; and the Chongrando, in which orchid leaves are painted vertically on a horizontal panel. Later, he painted Seokrando-style paintings more than he did Gunrando or Chongrando, eventually mastering the style. The Seokparan-style was preserved into the modern era through Kim Eung-won (1855-1921), a copyist, and Na Su-yeong (1861-1927). In terms of Korean art history, the style served as a bridge between the traditional and modern styles of ink painting. |
| 개념정의(중문) |
石坡兰指高宗父亲兴宣大院君李昰应(1820-1989)的个性化墨兰画。石坡是李昰应的号，他在30几岁作为浪人四处流浪时遇到金正喜，跟随其学习墨兰画法，后临摹其《兰孟帖》，李昰应还受到郑燮、罗聘等扬州画派的作品影响，摸索出独具一格的画风。从政圈隐退后的1874年春天到1876年6月，李昰应在居住的直谷山房尝试创作了《群兰图》、《石兰图》、《丛兰图》等。《群兰图》是将根茎露出的“露根兰”以之字型排列；《石兰图》是以从画面一侧突出的岩石为中心，上下勾画兰草； 《丛兰图》则是在纵向较长画面上将兰叶横向拉长。后来，相比《群兰图》和《丛兰图》，李昰应反复摸索了《石兰图》并最终完成了石坡兰。石坡兰还通过画家金应元(1855-1921)、罗寿渊(1861-1927)等人的代笔得以传承至今，因此，作为连接传统和近代的桥梁作用，石坡兰在美术史上意义深远。 |
| 개념정의(일문) |
石坡蘭は、高宗の父であった興宣大院君・李昰應（イ・ハウン、1820～1889）の個性的な墨蘭画を指す用語である。「石坡（ソクパ）」は李昰應の雅号で、浪人としてさすらっていた30代に金正喜（キム・ジョンヒ）から墨蘭を学んだ後、師匠の『蘭孟帖』を臨摸したり、鄭燮、羅聘など揚州派の作品から影響を受け、自分だけの画風を模索した。政権から退いた1874年の春から1876年6月まで過ごした直谷山房で、根が露わになった「露根蘭」をジグザグに配置した「群蘭図」、画面の側面から突き出た岩を中心に蘭を上下に描いた「石蘭図」、縦長の画面に蘭葉を横に長く描いた「叢蘭図」の形式を試みた。その後は、群蘭図や叢蘭図よりも石蘭図を繰り返し描き、石坡蘭を完成させた。石坡蘭は、代筆作家であった金應元（キム・ウンウォン、1855～1921）、羅壽淵（ナ・スヨン、1861～1927）らが近代画壇へと継承し、伝統と近代を結ぶ橋渡しの役割をしたという点から美術史的に意味を持つ。 |
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