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
Liu Shin(柳?, 1748-1790) was a member of the prestigious Jin-Ju(晉州) Liu family. The Lius were aligned with the Nam-In political party(南人黨) and Liu Shin’ s ancestors had all held high governmental positions. But when the Nam-In party lost power in the struggle with the Suh - In party(西人黨), the Liu family left the capital to live in An-San(安山) in the region of KyungKi-Do. Liu Shin lost his father at the tender years of six. He was brought up instead by his uncle Liu Kyung-jong(柳慶種, 1714-1784). Liu Kyung-jong was the principal figure of the cultural circle in An-San. He was also the brother-in-law to the famous literati painter Kang Se - hwang(姜世晃, 1713-1791). So we can conclude Liu Shin received tutorage from his uncle and Kang Se-hwang. The famous scholar Yi Ik(李翼, 1681-1763) was also a resident of An-San and he also taught Liu Shin along with his uncle. It is said that Liu Shin was already well-known for his calligraphy quite early in his years.
Because of the political environment, Liu Shin never held any office but lived comfortably in An-San. He was a rich man for his ancestors had left him a lot of land and property. Among his ancestors was one who had even married the king’ s daughter and acquired quite a lot of land in the process. And his great-grandfather had left him a great private library which was one of the four largest of its kind at that time. The library was called Chung Mun-Dang(淸聞堂). Liu Shin’ s An -San was a cultural center where many scholars, poets and painters resided. Kim Hong-do(金弘道, 1745-c.1805), the most famous painter of the late Joseon dynasty also grew up in An-San. And Kim Hong-do’ s teacher was Kang Se-hwang who was also the teacher of Liu Shin, as we have mentioned above. We can guess that Liu Shin was already well acquainted with Kim Hong-do early in his years. From these circumstances, it can easily be surmised that Liu Shin was naturally talented in the art of calligraphy and painting. But unfortunately Liu Shin died quickly at 43 years old. His son also did not live long and eventually so his calligraphy and painting were forgotten. Liu Shin was literally unknown until today. Now after 200 years his calligraphy and painting has finally been made known to the public.
Liu Shin’ s works are comprised of two landscapes and paintings of chrysanthemums and peonies. Although there are relatively only a few works left, we can see that Liu Sin was talented in converting his thoughts and emotions into images. We can also note that he was aware of the pictures in textbooks and the paintings of other painters. Liu Shin left more works of calligraphy than paintings. He was skilled in many kinds of writing. The person who left the most important influence on Liu Shin was none other than Kang Se-hwang.
Liu Shin must be understood as one of the literati painters of the late Joseon dynasty. This conclusion is based on the fact that although there are only a handful of paintings left, they all reflect the noble, lofty standards of the literati. In rediscovering the forgotten literati painter Liu Shin we can confer that there were many intellectuals who were learned in the art of calligraphy and painting. I believe that we will be able to ‘discover’ more literati painters like Liu Shin in the future. Liu Shin is also important in that he shows how the literati were educated. His work are also contain an album of sketches for paintings(勤齋畵帖) and another album for calligraphy(勤齋墨蹟, 勤齋畵法). Through this albums we can see that Liu Shin practiced by copying the models from textbooks(『顧氏畵譜』, 『集雅齋畵譜』, …). Until now there has rarely been such an example. This is another important aspect of Liu Shin A study of Liu Shin will not only enrich art history but also be of immense importance to the cultural study of the late Joseon period.
Because of the political environment, Liu Shin never held any office but lived comfortably in An-San. He was a rich man for his ancestors had left him a lot of land and property. Among his ancestors was one who had even married the king’ s daughter and acquired quite a lot of land in the process. And his great-grandfather had left him a great private library which was one of the four largest of its kind at that time. The library was called Chung Mun-Dang(淸聞堂). Liu Shin’ s An -San was a cultural center where many scholars, poets and painters resided. Kim Hong-do(金弘道, 1745-c.1805), the most famous painter of the late Joseon dynasty also grew up in An-San. And Kim Hong-do’ s teacher was Kang Se-hwang who was also the teacher of Liu Shin, as we have mentioned above. We can guess that Liu Shin was already well acquainted with Kim Hong-do early in his years. From these circumstances, it can easily be surmised that Liu Shin was naturally talented in the art of calligraphy and painting. But unfortunately Liu Shin died quickly at 43 years old. His son also did not live long and eventually so his calligraphy and painting were forgotten. Liu Shin was literally unknown until today. Now after 200 years his calligraphy and painting has finally been made known to the public.
Liu Shin’ s works are comprised of two landscapes and paintings of chrysanthemums and peonies. Although there are relatively only a few works left, we can see that Liu Sin was talented in converting his thoughts and emotions into images. We can also note that he was aware of the pictures in textbooks and the paintings of other painters. Liu Shin left more works of calligraphy than paintings. He was skilled in many kinds of writing. The person who left the most important influence on Liu Shin was none other than Kang Se-hwang.
Liu Shin must be understood as one of the literati painters of the late Joseon dynasty. This conclusion is based on the fact that although there are only a handful of paintings left, they all reflect the noble, lofty standards of the literati. In rediscovering the forgotten literati painter Liu Shin we can confer that there were many intellectuals who were learned in the art of calligraphy and painting. I believe that we will be able to ‘discover’ more literati painters like Liu Shin in the future. Liu Shin is also important in that he shows how the literati were educated. His work are also contain an album of sketches for paintings(勤齋畵帖) and another album for calligraphy(勤齋墨蹟, 勤齋畵法). Through this albums we can see that Liu Shin practiced by copying the models from textbooks(『顧氏畵譜』, 『集雅齋畵譜』, …). Until now there has rarely been such an example. This is another important aspect of Liu Shin A study of Liu Shin will not only enrich art history but also be of immense importance to the cultural study of the late Joseon period.
목차
Ⅰ. 유신의 家系와 생애
Ⅱ. 유신의 그림과 글씨
Ⅲ. 문인화가 유신의 회화사적 의의
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
《惠園傅神帖》의 遊興 이미지
미술사논단
2004 .06
-
화가로서의 문신 연구
인물미술사학
2006 .12
-
道敎 神仙 劉海蟾 圖像의 形成에 대하여
미술사학연구(구 고고미술)
2000 .06
-
20세기 중국의 工筆花鳥畵와 일본 미술 : 于非闇, 陳之佛, 劉奎齡을 중심으로
미술사연구
2016 .12
-
明代 中期의 文人畵家 唐寅의 詩畵
미술사학
2000 .08
-
「明代 顧氏畵譜(1603)의 간행과 회화사적 의의」
미술사연구
2014 .12
-
류하이쑤(劉海粟)와 1920년대 순수미술운동
미술사논단
2010 .12
-
1965-1972년까지 문신 추상 조각의 전개와 구조 분석
한국근현대미술사학
2019 .07
-
스펙터클과 독재 : 신상옥 영화론
영화연구
2011 .09
-
거문고 구음의 변천 小考 : 영산회상 상령산에서 가락덜이에 한하여
한국음악문화연구
2016 .06
-
자아의 경계 - 신윤복의 《혜원전신첩》을 중심으로
예술과 미디어
2012 .01
-
朝鮮 末期 畵員畵家 安建榮(1841~1877)의 生涯와 人物畵
미술사학연구(구 고고미술)
2018 .12
-
신학철의 〈한국 근·현대사〉 연작 연구
한국근현대미술사학
2011 .12
-
놀이판과 신명 문화, 춤 풀이와 해소의 기능
우리춤과 과학기술
2019 .01
-
「韓琴新譜」의 步虛子 本還入 硏究
한국전통음악학
2005 .05
-
退溪 李滉의 〈投壺〉와 忠武公 李舜臣의 〈弓術〉에 보이는 文ㆍ武의 〈身體修養論〉
한국체육과학회지
2007 .02
-
『顧氏畵譜』와 조선후기 회화
미술사연구
2005 .12
-
문신의 조각과 프랙탈 시메트리 - ‘형(形)’에서 생명 모티프로
한국근현대미술사학
2019 .07
-
신낙균선생 서거 50주년 기념 ; 신낙균의 생애와 사상
AURA
2005 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-650-017319945