회화에서 시점과 구도는 주제를 화면에 효과적으로 구현하기 위한 시각적인 측면 외에도 화가나 감상자의 자연관과 심미관을 반영하는 중요한 표현요소이다. 특히 동양의 산수화는 서양의 풍경화와는 다른 독특한 시점과 구도의 특징을 지니므로, 산수화를 그리고 감상하는 데 있어서는 이에 대한 정확한 이해가 우선적으로 필요하다. 따라서 본 논문에서는 우리나라 역사상 산수화가 가장 다양한 양상으로 전개되었던 조선시대 후기를 중심으로 산수화의 구도 특징을 분석하고 미술사적 의의를 도출하고자 한다. 2장에서는 조선시대 산수화의 전개과정과 산수화 구도의 원리를 살펴보았다. 조선 초·중기에는 중국의 산수화풍을 주체적으로 수용하면서 우리의 미의식에 맞게 절충한 양식을 중심으로 산수화가 전개되었다. 조선 후기에는 초·중기에 조선식으로 정착된 산수화풍을 바탕으로 새롭게 유입된 남종화풍이 가미되며 진경산수화와 같은 한국적이고 독자적인 산수화 양식이 전개되었다. 한편 이와는 다른 측면으로 전개된 민화의 산수화는 서민들에 의해 그려지면서 보다 한국적인 미감이 드러나는 산수화풍을 보여준다. 또한 산수화 구도의 원리를 살펴보면, 시대적 화풍에 따라 산수자연을 효과적으로 표현하기 위한 구도 방법들이 다르게 사용되었고, 산점투시와 삼원법, 이동시점 등 산수화 특유의 시점이 다양한 화면형식과 함께 사용되었음을 알 수 있다. 3장에서는 조선 후기 산수화 구도의 특징을 변형된 편파구도, 일하양안 삼단구도, 전충구도, 부감법식 구도, 투시도법의 구도, 다시점의 나열형 구도로 구분하여 각 구도의 유형별로 특징을 분석하였다. 그 결과 조선 후기 산수화 구도의 특징은 주체적인 문화의 수용, 사실주의적 회화관의 반영, 한국적 미감의 독자적인 산수화풍의 확립으로 종합해 볼 수 있었다. 특히 조선 후기에 산수화가 토착화되고 독창적인 구도 방법들이 다양하게 사용될 수 있었던 것은 전신(傳神)과 사의(寫意)를 중시하는 전통적인 동양회화론과 당시 학문과 사상의 기류를 반영하는 사실주의적 경향을 조화롭게 견지한 화가들의 창작자세에서 비롯된 것이라고 볼 수 있다. 한편 민화의 산수도는 이와는 다른 측면에서 전개되었지만, 이 역시 현실에 눈을 돌릴 수 있었던 당시의 사실주의 경향과 연관 지을 수 있다. 4장에서는 위의 분석 내용을 바탕으로 미술사적 의의를 도출하였다. 첫째, 조선 초·중기 전통산수화풍의 구도 방법이 계승됨으로써 중국산수화와는 차별되는 한국적인 산수화풍 형성에 기반이 마련되었다. 둘째, 다양한 화풍과 절충된 새로운 양식이 구축되었는데, 이는 당시 화가들의 주체적인 문화의 수용과 변용의 자세를 반영하는 것으로 중국적인 소재와 기법으로 그려진 산수화를 우리의 정서와 미의식에 맞는 한국적인 회화로 발전시키는 데 근간이 되었다. 셋째, 진경산수화와 남종화의 구도 특징에서는 관념적인 구도방법에서 사실적인 구도방법으로 변화한 것을 볼 수 있으며, 이는 당시의 사실주의적 회화관과 조형관을 반영한다. 넷째, 산수화의 소재뿐만 아니라 기법적인 측면에서도 한국적 토착화가 이루어졌으며, 이를 통해서 한국적 미감을 드러내는 구도와 표현기법 등이 형성되며 자주적인 산수표현을 이루어냈다. 다섯째, 서양화기법의 유입은 전통적인 회화관에서 탈피하여 보다 근대적이고 과학적인 화법을 통해 사실적인 구도로의 변화를 이끌었다는 점에 의의가 있다. 전통회화의 표현기법 연구는 당시의 회화 향유계층의 조형의식을 이해함과 동시에 그 배경이 되는 시대적 상황, 문화의 흐름을 함께 파악할 수 있는 방법이다. 앞으로도 산수화의 이해 측면뿐만 아니라 전통산수화의 발전과 현대적 계승 측면에서 바라보았을 때 구도를 비롯한 표현기법 중심의 세부적인 연구가 지속적으로 이루어져야 하겠다.
When it comes to focuses and composition in paintings, they areconsidered important factors not only in that they fulfill some visualresponsibilities to effectively present topics on canvases but also in thatthey reflect views on nature and aesthetics of either painters or audience.In particular, these different focuses and composition in oriental landscapepaintings are what have been distinguishing the paintings from westernlandscape paintings and therefore, in terms of drawing and appreciating theoriental landscape paintings, accurate understanding on those features ofthe oriental landscape paintings should be first secured before anythingelse. In the light of that, focusing on the latter period of Joseon Dynastywhich had flourished with the most diverse development and changes inthe landscape paintings in the history of Korea, this thesis aims to analyzethe composition of the landscape paintings and extract the significance ofthose paintings in relation to art history.In Chapter 2, the study looked into the development of landscapepaintings in Joseon Dynasty as well as the principles of the composition inthose paintings. In the early and mid-years of Joseon Dynasty, not onlythe dynasty was voluntarily taking in these landscape painting styles ofChina but they were also trying to improve the paintings based on these styles which would agree to their people’s aesthetic senses and tastes. Inthe late era of Joseon Dynasty, the landscape painting styles that had beenrevised with tastes of the dynasty included helped the country accept otherChinese painting styles of the Southern School and as a consequence,Joseon Dynasty came up with Korean original landscape painting stylessuch as the jinkyeong landscape painting style. On the other hand,regarding these landscape paintings as in folk paintings which had evolvedfrom different angles, the normal crow was the painters of such drawingsand accordingly, the drawings successfully presented these landscapepainting styles with even more Korean aesthetic tastes added. Add to that,the study investigated the principles of the composition in the landscapepaintings and learned that every different painting style of each era hadworked with, again, these different composition methods to effectivelyintroduce landscapes of nature and as for these focuses observedexclusively in the landscape paintings such as shift perspective, threedistances, moving focus and others, they were applied with various screenforms.Chapter 3 divided the features of the landscape painting composition inthe latter period of Joseon Dynasty into these categories of transformedone-sided composition, ilhayangahn triadic composition, filling composition,overlooking method composition, perspective drawing method compositionand multi-view list composition and as a next step, each of thecomposition was analyzed on a basis of their characteristics. Findings ofthe analysis reported that the voluntary cultural acceptance, the applicationof realistic painting views and the establishment of the independentlandscape painting styles with Korean tastes included feature in thecomposition of the landscape paintings in the latter period of JoseonDynasty. The study did also confirm that in the late years of JoseonDynasty, both of the landscape paintings and the original compositionmethods would not have been localized and applied if painters of those times had not secured their attitudes to creation. Such attitudes hadcontributed to the painters’ harmonious understanding on these traditionaloriental painting beliefs and theories that would value portraits and desireto paint and these realistic trends that would work both with studies andphilosophies of those times. In the meantime, the landscape paintings as inthe folk paintings did develop in different angles but still, the studyassociates the paintings with the realistic trends of those years when thepainters were paying attention to the realities.Chapter 4 extracted the significance in relation to art history based onwhat had been analyzed as above. First, as the composition methods of thetraditional landscape painting styles in the early and mid-years of JoseonDynasty were inherited, the dynasty consequently prepared a foundation forthe establishment of the Korean landscape painting styles. Second, the newstyles were created upon all those different painting styles, and that iswhat proves how the painters of those times were determined tovoluntarily accept other cultures and to improve their own as well. Suchdetermination had helped the painters to develop those landscape paintingsdrawn with Chinese materials and techniques to Korean paintings, andwhat the painter had drawn corresponded to emotions and aesthetic tastesof Koreans. Third, as for the features of the composition in the jinkyeonglandscape paintings and Chinese paintings with the styles of the SouthernSchool applied, the study observed that Joseon Dynasty had chosen therealistic composition method over the notional composition method, and thatis the evidence of how the painters in Joseon Dynasty had applied therealistic painting views and formative views in their times. Fourth, notonly the materials of the landscape paintings but also the techniques weresuccessfully localized in Korea and, the composition, expression techniquesand others that had been formed upon the localization showed Koreanaesthetic tastes. In the end, the painters in Joseon Dynasty created theirown independent landscape expression styles and techniques. Fifth, the study understands that the introduction of the western painting techniquesencouraged Joseon Dynasty to go even further from their traditionalpainting ideas and principles, and such accomplishment is consideredsignificant in that it led the dynasty not only to contemporary, scientificpainting techniques but also to the realistic composition.Studies on expression techniques of traditional paintings are said to beone of the ways to know how these classes of those times, which weregiven chances to enjoy paintings, had understood formative arts as well ashow circumstances and cultures of the times had flowed. This study nowsuggests that any follow-up researches should devote themselves not onlyto the understanding on the landscape paintings but also to both of thecomposition and the expression techniques focusing on how the traditionallandscape paintings had developed and how they had been inherited to themodern times.