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이 논문은 尹斗緖(1668-1715)가 조선 후기 새로운 회화경향을 선도할 수 있었던 원동력이 중국의 회화관련서적들을 체계적으로 탐구하고 주체적으로 수용한 데 있다고 파악하여, 윤두서가의 서화관련 중국출판물의 장서실태와 윤두서의 명․청대 화보, 백과전서, 묵보, 소설삽화, 서양화법의 수용을 중심으로 새롭게 재조명하였다. 1927년부터 1928년에 걸쳐서 조선사편수회에서 작성한 『海南尹氏群書目錄』에 수록된 회화관련 서목들은 윤두서의 중국출판물의 활용범위를 넓혀서 파악하는 데 결정적인 역할을 하였다. 그림을 전수받을 만한 스승이 없었던 그가 절파화풍에 머물러 있었던 화단의 누습에서 벗어나 자력으로 일가를 이루고 조선 후기 화단의 선구자로서의 위치를 확보할 수 있었던 데는 무엇보다도 대량으로 수입된 중국출판물의 도움이 컸다. 윤두서의 회화에 영향을 미친 중국출판물은 『顧氏畵譜』, 『唐詩畵譜』, 『圖繪宗彛』, 『唐解元倣古今畵譜』, 『張白雲選名公扇譜』, 『梅蘭菊竹譜』, 『三才圖會』, 『列仙全傳』, 『芥子園畵傳』, 『方氏墨譜』, 『程氏墨苑』, 『隨唐演義』, 『忠義水滸傳』, 『養正圖解』, 『八仙出處東遊記』, 『太平廣記』, 『盛明雜劇』 등이다. 특히 『개자원화전』을 가장 먼저 수용한 사실을 통해서 『개자원화전』의 조선의 유입시기가 윤두서의 졸년인 1715년 이전으로 확정되었다. 또한 윤두서가 1706년 이후에 구사한 서양화법은 마테오 리치(Matteo Ricci, 利瑪竇, 1552-1610)와 접촉했던 인물들이 저술한 程大約의 『정씨묵원』과 顧起元의 『客座贅語』를 통해서 자득한 것으로 볼 수 있다.


Yun Du-seo (1668-1715), the literati painter of late Joseon, led the painting trends of his time. His role as the trend-setter owed in large part to his exposure to and in-depth acquaintance with Chinese books on painting and calligraphy-related subjects, and his ability to assimilate foreign stylistic elements in a manner that did not overshadow his original style. This paper discusses Chinese publications on painting and calligraphy-related topics which had been in Yun Du-seo’s private collection, and how he used the inspirations drawn from painting albums, encyclopedic publications, ink stick albums (mopu), illustrations to fictions and plays from the Ming and Qing Dynasties, and the western painting methods with which he became acquainted, for his own works. Book titles listed in Haenam Yunssi Gunseo Mongnok (Various Book Catalogues of the Yun Family), compiled by Joseonsa Pyeonsuhoe (Society for Joseon History Publications) between 1927 and 1928, some of which personally belonged to Yun Du-seo, provide important evidence of the broad variety of Chinese publications read by the literati painter. An almost completely self-taught painter, Yun Du-seo broke away from the conservative trend of the artistic circles of his time, dominated by the style of the Zhejiang school, to shape his own distinct style and, thereby, emerge as one of the pioneering figures of late-Joseon painting. This ability of Yun Du-seo to rise above the norms and conventions of his time is owed, to an important extent, to his exposure to Chinese publications, then imported to Joseon in large quantities. Chinese publications which had an influence on Yun Du-seo’s paintings include Gushi Huapu (Gu's Album of Paintings), Tang Shi Huapu (Tang Poetry and Painting Album), Tuhui Zongyi, Tangjieyuan Fang Gu Jin Huapu, Zhang Baiyun Xuan Minggong Shanpu (Zhang Baiyun’s Selection of Famous Historical Figures), Mei Lan Ju Zhu Pu (Album of Plum, Orchid, Chrysanthemum and Bamboo Paintings), Sancai Tuhui (Illustrations of the Three Powers), Liexian Quanchuan (Complete Biographies of Immortals), Jie Zi Yuan Hua Zhuan (Mustard Seed Garden Album of Paintings), Fangshi Mopu (Master Fang’s Album of Ink Sticks), Cheng Shi Mo Yuan (Ink Gardens of the Cheng Family), Sui Tang Yan Yi (Tales of the Sui and Tang Dynasties), Zhong Xi Shui Hu Chuan, Yangzheng Tujie (Cultivated Rectitude: Illustrated and Explained), Tai Ping Guang Ji, and Chengming Zaju Sanshi Zhong. Yun Du-seo, notably, is known as the first Joseon man to have laid his hand on Jie Zi Yuan Hua Zhuan. This album of paintings, indeed, is confirmed to have been imported to Korea at least prior to 1715, the year of Yun Du-seo’s death. Meanwhile, the Western-style painting techniques used by Yun Du-seo since 1706 have been traced back to Cheng Shi Mo Yuan, a work authored by Chinese scholars who were in contact with Matteo Ricci (1552-1610), and Ke Zuo Zui Yu by Gu Qiyuan; two publications with which the Joseon literati painter is known to have been familiar.