이 논문은 吳派蘭그림의 전개양상과 회화적 특징을 규명하고, 이를 밑그림으로 사용한 『十竹齋書畵譜』의 「蘭譜」와의 관련성을 살펴본 것이다. 송대부터 문인화의 畵題로 부각된 난은 16-17세기에 화훼원예취미의 일환인 愛蘭풍조와 문인들의 사회적 처지의 변화에 따라 새로운 시대적 함의를 띠게 되었다. 난은 雅趣있는 문인생활의 필수적인 玩賞物이자 관직 바깥에서 脫俗的인 삶을 추구했던 蘇州문인들의 정체성을 드러내는 매개로서, ‘도시 속의 고결한 삶’이라는 시대적 가치를 표상하게 된 것이다. 文徵明은 蘭竹石으로 구성된 단일한 화면과 深山幽谷을 배경으로 각양 각태의 난죽과 바위를 그린 長卷형식에서 새로운 전범을 제시했다. 趙孟堅과 趙孟부의 화법을 바탕으로 하여 양옆으로 자연스럽게 뻗은 蘭葉과 서너개의 花葉, 농묵의 花心을 특징으로 하는 난법을 완성했고, 鄭思肖의 간결한 표현을 따르면서도 좌우대칭을 깨뜨리는 화법도 겸비했다. 鉤勒蘭法에도 뛰어난 기량을 발휘했으며, 배경의 사선처리와 사군자에 禽鳥를 결합하는 새로운 표현도 추구했다. 陳淳은 자신이 정립한 花卉圖卷에 난을 주로 그려냈는데, 그의 묵란화는 간결한 표현, 사선구도, 肥瘦의 대비와 꺾임이 강조된 난엽의 표현을 특징으로 한다. 그는 法式을 벗어난 자유분방한 필묵으로 문징명을 넘어서는 사의적인 분위기의 묵란화를 선보였다. 後期吳派는 문징명과 진순의 화풍을 계승하면서 각자의 개성을 가미한 묵란도를 그려냈고, 陸治, 周之冕등은 구륵채색법을 사용한 난그림을 제작했다. 오파 화가들의 작품을 밑그림으로 한 『십죽재서화보』의「난보」는 대체로 난엽이 한쪽 방향에서 다른 쪽으로 뻗은 사선구도와 간결한 난의 표현, 꺾임이 많은 난엽을 특징으로 한다. 따라서 정사초의 난법을 바탕으로 한 문징명의 작품과 진순의 화풍이 주로 반영된 것을 알 수 있다.

This study investigates the development and characteristics of the orchid paintings of the Ming Dynasty Wu School, while examining their connection to the “Orchids” section of Shizhuzhai shuhua pu, which was based upon them. Orchids, which first emerged as a motif in literati painting in the Song Dynasty, acquired different undertones in the 16th and 17th centuries in accordance with orchids-loving trend, part of the wider popularity of flower cultivation as a hobby, and changes in the social circumstances of literati. The orchid, which symbolizes men of virtue, loyalty and hermitic seclusion, was an indispensable object of appreciation in the refined life of men of letters. It functioned as a medium for revealing the identity of Suzhou literati who pursued an unworldly way of life, outside public office. In addition to its traditional symbolism, the orchid had come to represent the contemporary value of “a life of virtue in the city.” Wen Zhengming and Chen Chun established their own independent painting styles, pioneering new territory in the genre of ink orchid paintings. Wen set a new precedent for his long scroll-form works with orchids, bamboos and rocks of various shapes against backgrounds of high mountains and steep valleys, as well as simple canvases composed of orchids, bamboos and rocks. Based on the technique of Zhao Mengjian and Zhao Mengfu, he perfected ink orchid painting technique characterized by leaves spreading naturally to each side, three or four petals, flower centers rendered in dense ink. He also followed the simple expressive style of Zheng Sixiao, while combining it with a technique of breaking bilateral symmetry. He demonstrated outstanding ability in the goule (鉤勒) orchid technique and showed a brand new tendency to integrate birds into “Four Gentlemen” paintings. Generally, Chen Chun painted the orchids in the flower-plant painting handscrolls which he had established. His ink orchid paintings are characterized by their simple expression, diagonal composition, contrast of fat and thin and emphasis on broken orchid leaves. Using a carefree brush and ink style unfettered by conventional rules and forms, Chen sought to create ink orchid paintings in a freehand(寫意) mood that went beyond that of Wen Zhengming`s works. Later Wu School painters inherited the styles of Wen and Chen while producing ink orchid paintings to which they added their own individual characteristics. Lu Zhi and Zhou Zhimian produced orchid paintings using the goule coloring method. The “Orchids” section of the Shizhuzhai shuhua pu, which is based on the works of Wu School painters, added the character of a multiple-printed collection of famous paintings to that of a painting textbook, giving it an appearance different to that of previous orchid painting manuals. Its illustrations were generally characterized by their diagonal compositions, with orchid leaves spreading from one side to another; simple depictions of orchids; and large number of broken leaves. This tells us that the manual is generally a reflection of the styles of Wen Zhengming and Chen Chun, which were in turn based on the technique of Zheng Sixiao.