「夢遊桃源図」の創作世界―仙境の再現と古典山水画の確立―

Dream Journey to the Peach Blossom Land（夢遊桃源図） was based on a dream that I-Yong, the third son of King Sejong known as the royal prince An-Pyeong（安平大君, 1418-53）, had on the 20th day of the 4th lunar month of 1447. His dream of the Peach Blossom Land was called ‘Dowonmong（桃源夢）’ and came to be remembered forever in the history of Joseon dynasty calligraphy and literature. After having the dream, the royal prince An-Pyeong encouraged the famous court painter, An-Gyeon（安堅）to depict the dream and record its contents（記文）. He also allowed contemporary celebrities to write and recite some laudable prefaces and poems, known as jechan（題賛）in Korean, about the dream. Thus the most enchanted garden of the mythical realms, the Peach Blossom Land（桃源郷）, was depicted and heralded by the greatest writers and painters of the King Sejong era, recognized as the golden age of early Joseon culture. This process reflected the great codification of court literature（gwan-gak literature, 館閣文芸）. This paper presents my comprehensive examination of the theme and the resulting art and literary works that constituted the creative world of Dream Journey to the Peach Blossom Land. I worked from the basis of existing artistic and literary research and added the following aspects to my study: the entire production process and history of the Dream Journey to the Peach Blossom Land handscroll（夢遊桃源図巻軸）; the process by which the painting was transferred to large-scale format; when it was taken from Korea to Japan, and how it came to be seen as a modern “artifact.” The pictorialization of the Dream Journey to the Peach Blossom Land focused on glorifying royal prince An-Pyeong’s dream and likening it to a holy pilgrimage to India. In the dream the royal prince An-Pyeong journeyed to the Peach Blossom Land, a place no one had visited in the millennium since the fisherman stumbled upon it. Stylistically, Dream Journey to the Peach Blossom Land was a mixture of styles assembled by An-Gyeon within the traditional context of late Goryeo painting, including the Li-kuo School（李郭派）and the Won Dynasty’s previous Zhe School（前浙派）. These styles pursued eclecticism and formalism on the basis of the Northern Song dynasty classical “ideal landscape” style of Li Cheng（李成）and Kuo Xi（郭熙）, as well as the Buddhist painting styles that developed from those schools. Through his fusion of these styles and creative additions, An-Gyeon began and established a new traditional Joseonstyle landscape painting. His Joseon style representation of this mythical land occurred at the end of the Goryeo dynasty and beginning of the Joseon dynasty, just as landscape painting ideology and aesthetics were gaining popularity as pleasure pursuits. His influence continued long after, just as royal prince An-Pyeong had hoped, through a school of followers that a King Injo era civil minister I-Sik（李植, 1584-1647）designated the An-Gyeon school（安可度輩）.