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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
In the Late Joseon Dynasty, the cultural environment of the capital, Hanseong, was clearly different from that of other provinces, and connoisseurship became popular among admirers of antique works of Chinese calligraphy or paintings seeking to express their loftiness and refinement. Moreover, the demand for artistic works increased greatly.
Most studies have estimated that Jo Huiryong(1789~1866), a painter who was well-known for his plum blossom paintings in the 19th century, was influenced by Kim Jeonghui. Although Kim Jeonghui was an influential leader among painters, the works of middle class artists including Jo seem to have been painted to suit the taste of collectors. Jo's plum blossom paintings show richer and more magnificent pictorial images, unlike the classical literati representatives of Kim's.
Because Jo rarely dated his own works, it is difficult to categorize them chronologically. As such, this study classifies almost all of his works by size and categorizes them vertically hanging scrolls of plum blossoms, small size leaf paintings, and panoramic view of plum blossoms in a form of screen panels.
In his narrow vertical type of works, Jo attempted to express a sense akin to stone inscription calligraphy, by representing the twisted branches of plum trees with strong, sharp, and straight lines similar to the calligraphic style.
He also painted many small leaf paintings using ink in an improvised painting style of the classical literati. Moreover, he started to produce huge panoramic plum screen panels for the first time during the Joseon period. In particular, Jo's panel works are characterized by their grand size and spectacular images. He focused on the expressive potentials of brush and ink, projecting his personal interpretation of the painted subject.
Jo adapted the style of the Yangzhou School while developing his own style, and became influential among his contemporaries and to the painters of the next generation. Jo's plum blossom paintings are not only emblems of the literati's classical painting but also ideal ink plum images that represent the artist as a solitary creator.
Most studies have estimated that Jo Huiryong(1789~1866), a painter who was well-known for his plum blossom paintings in the 19th century, was influenced by Kim Jeonghui. Although Kim Jeonghui was an influential leader among painters, the works of middle class artists including Jo seem to have been painted to suit the taste of collectors. Jo's plum blossom paintings show richer and more magnificent pictorial images, unlike the classical literati representatives of Kim's.
Because Jo rarely dated his own works, it is difficult to categorize them chronologically. As such, this study classifies almost all of his works by size and categorizes them vertically hanging scrolls of plum blossoms, small size leaf paintings, and panoramic view of plum blossoms in a form of screen panels.
In his narrow vertical type of works, Jo attempted to express a sense akin to stone inscription calligraphy, by representing the twisted branches of plum trees with strong, sharp, and straight lines similar to the calligraphic style.
He also painted many small leaf paintings using ink in an improvised painting style of the classical literati. Moreover, he started to produce huge panoramic plum screen panels for the first time during the Joseon period. In particular, Jo's panel works are characterized by their grand size and spectacular images. He focused on the expressive potentials of brush and ink, projecting his personal interpretation of the painted subject.
Jo adapted the style of the Yangzhou School while developing his own style, and became influential among his contemporaries and to the painters of the next generation. Jo's plum blossom paintings are not only emblems of the literati's classical painting but also ideal ink plum images that represent the artist as a solitary creator.
목차
Ⅰ. 머리말
Ⅱ. 19세기 서울의 문예경향과 梅花圖의 의미 변화
Ⅲ. 조희룡 梅花圖의 특성과 의의
Ⅳ. 후대에 미친 영향
Ⅴ. 맺음말
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〈Abstract〉
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UCI(KEPA) : I410-ECN-0101-2009-650-016264130