지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The Baekjado (Painting of One Hundred Children at Play, 百子圖) paintings depict many children peacefully at play in idealized Chinese palace gardens with pavilions, balustrades, trees, flowers, streams, ponds, and exotic rocks. Brilliantly painted and decorated, the extant Baekjado paintings seems to have been produced for the court and the upper class in the late Joseon dynasty. The origin of Baekjado paintings can be traced to the Chinese painting tradition.
In the traditional China, images of little boys were considered auspicious and employed in various decorations. This auspicious image of little boys can be seen in Chinese paintings such as 'Palace Ladies Bathing Children (浴?圖).' 'Painting of Children at Play (?戱圖).' 'Knickknack Peddler (貨郞圖)' and 'One Hundred Children at Play (百子圖).' The Baekja (百子) theme refers to the family of King Wen, an early patriarch whose male progeny numbered one hundred. The One Hundred Children, however, is taken metaphorically to mean "innumerable." In One Hundred Children painting, the children, all boys, are shown engaged in wide range of play activities from those of typical of childhood to activities meant to emulate the adult males around them-playing the zither, writing poetry and so on.
During the late Joseon dynasty, Baekjado paintings were more popular among the upper class and the court: they were used in Royal weddings and were employed as themes in the official painting examinations in order to judge the painter's talent. This theme painting gradually spread to the common people and was used to decorate women and children's rooms in folk painting style.
The extant Baekjado paintings of the late Joseon dynasty differ from the Chinese version in its format and visual characteristics: they were mostly screen paintings and each of the panels of a Baekjado screen usually depicted six to eighteen children, giving a total of around one hundred children in the whole set.
In screen paintings of Baekejado, in each panel depicts children at various play activities like, 'general game', 'chicken fight', 'picking lotus flower', 'monkey game', and 'picking plum blossoms.' Such typical play activities would be composed in six, eight, or ten panels. The details and artistic elements of the play activities in each paintings reflect a repetitive style of set patterns. The play activities and the various motifs in the paintings symbolize prosperity, successful careers, longevity and well being.
Baekjado paintings of the late Joseon dynasty can be divided into three groups according to its format and visual characteristics: group A - screen paintings which depict individual stories and pavilions in each panel; group B - screens without the pavilions; and group C - screens composed of panels which are inter-related and inter-connected. Group A and B also display difference in brilliant and elaborate decoration, which seems to have been effected by the economical condition of the consumers. Group C screen paintings were produced for the court: their panoramic composition, and colorful, detailed motifs, correspond to the courtly style such as in "Kuo tzu-i's Banquet (郭汾陽行樂圖)' paintings and the 'Taoist Immortal on Their Way to Xi Wang Mu's Banquet(瑤池宴圖)' paintings. Furthermore, the shading and the coloring of the paintings give the clues that these paintings were produced in the 19th century.
In the traditional China, images of little boys were considered auspicious and employed in various decorations. This auspicious image of little boys can be seen in Chinese paintings such as 'Palace Ladies Bathing Children (浴?圖).' 'Painting of Children at Play (?戱圖).' 'Knickknack Peddler (貨郞圖)' and 'One Hundred Children at Play (百子圖).' The Baekja (百子) theme refers to the family of King Wen, an early patriarch whose male progeny numbered one hundred. The One Hundred Children, however, is taken metaphorically to mean "innumerable." In One Hundred Children painting, the children, all boys, are shown engaged in wide range of play activities from those of typical of childhood to activities meant to emulate the adult males around them-playing the zither, writing poetry and so on.
During the late Joseon dynasty, Baekjado paintings were more popular among the upper class and the court: they were used in Royal weddings and were employed as themes in the official painting examinations in order to judge the painter's talent. This theme painting gradually spread to the common people and was used to decorate women and children's rooms in folk painting style.
The extant Baekjado paintings of the late Joseon dynasty differ from the Chinese version in its format and visual characteristics: they were mostly screen paintings and each of the panels of a Baekjado screen usually depicted six to eighteen children, giving a total of around one hundred children in the whole set.
In screen paintings of Baekejado, in each panel depicts children at various play activities like, 'general game', 'chicken fight', 'picking lotus flower', 'monkey game', and 'picking plum blossoms.' Such typical play activities would be composed in six, eight, or ten panels. The details and artistic elements of the play activities in each paintings reflect a repetitive style of set patterns. The play activities and the various motifs in the paintings symbolize prosperity, successful careers, longevity and well being.
Baekjado paintings of the late Joseon dynasty can be divided into three groups according to its format and visual characteristics: group A - screen paintings which depict individual stories and pavilions in each panel; group B - screens without the pavilions; and group C - screens composed of panels which are inter-related and inter-connected. Group A and B also display difference in brilliant and elaborate decoration, which seems to have been effected by the economical condition of the consumers. Group C screen paintings were produced for the court: their panoramic composition, and colorful, detailed motifs, correspond to the courtly style such as in "Kuo tzu-i's Banquet (郭汾陽行樂圖)' paintings and the 'Taoist Immortal on Their Way to Xi Wang Mu's Banquet(瑤池宴圖)' paintings. Furthermore, the shading and the coloring of the paintings give the clues that these paintings were produced in the 19th century.
목차
Ⅰ. 머리말
Ⅱ. 百子圖의 쓰임
Ⅲ. 百子圖의 연원
Ⅳ. 조선후기 百子圖의 구성과 전개
Ⅴ. 조선후기 百子圖의 조형적 고찰
Ⅵ. 맺음말
참고문헌
Abstract
참고문헌 (35)
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