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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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.6
- 수록면
- 37 - 62 (26page)
이용수
초록· 키워드
오류제보하기
In recent studies involving areas of paintings or pictorial items. certain types of old maps featuring some pictures of the landscape for graphic effects. are labeled as Pictorial Maps. To the researchers of this area, certain touches and sketches from those Pictorial Maps which might reveal some valuable information regarding the pictorial characteristics of the past would probably be the ones that are most anxiously sought for.
The painting which is going to be examined here is the 《Hamheung-Naewae-Shibgyeong-do 咸興內外十景圖》. The item features the description of the landscape of the Hamheung region and the nearby areas, and is currently in custody of the National Museum of Korea. This item shows a mixed quality, as it is essentially a map. while it is also a painting. Current researches consider this type of creative fashion to have been very popular during the latter half of the 17th century, as the “Real Scenery" paintings (實景山水畵) of that era seem to have been containing both pictorial qualities and map-like qualities at the same time.
The unique characteristics of this painting fashion urge us to explore the inherent qualities of this fashion instead of only considering this fashion to have been a mere predecessor to the 18th century's "true-view" scenery painting. Hence, the internal composition of the 《Hamheung-Naewae-Shibgyeong-do》 was picked up for examination, as a perfect example and embodiment of that creative fashion.
The designation number of this portable picture album is Object No. Shin-15776. The item is composed of 19 leaves (pages) of pictures, and the pages are colored. The cover has the title 《咸興內外十景圖 Hamheung-Naewae-Shibgyeong-do》 on it. Contents, 9 places from the Hamheung area, and 10 other places of the Hamgyeong-do region are illustrated in this album.
Compared to the Seongjinjin-do (城津鎭圖) or the Chilbosan-do (七寶山圖) paintings from the 《Bukgwansuchang-rok (Album of pictures depicting the travel to the Northern land)》 painting, it seems like the 《Hamheung-Naewae-Shibgyeong-do) did inherit the composition style of the latter half of the 17th century. Presumably, the composition style must have also been shared by paintings like the 《Hamheung-Shibgyeong-do (Ten Magnificent Landscape Scenes of the Hamheung Region)》 or the Bukgwan-Shibgyeong-do (Ten Magnificent Landscape Scenes of the Northern Area) which were all created by Nam, Gu-Man during the latter half of the 17th century (the original painting is missing, and the current paintings are believed to have been copied in the 18th or 19th century).
The description pattern of the 《Hamheung-Naewae-Shibgyeong-do) indicates that the illustrated objects of the landscape were not arbitrarily or randomly positioned in the picture, but carefully coordinated to depict the actual landscape as realistically as possible. This becomes even dearer when the item is compared to other maps which were created in that time period. Visual emphasis on certain areas confirm this observation, as important places were magnified while other circling area" were reduced, to secure distinct views of those particular center areas while also allowing the entire picture to show the overall situations of the whole region.
Various composition styles are displayed in this item, but the most dominant fashions could be named as follows: 1) A wide view which allows the viewers to comprehend the relationship between independent objects and the overall landscape, 2) A smaller view which covers a limited area but still allows the viewers to grasp multiple landscape patterns, and 3) the smallest view which only provides the viewers with information regarding a single object.
Items like this should have tremendously benefitted from the previous figures' ingenuity and efforts. In this case, the creative skills and geographical knowledge of Nam, Gu-man, and the outstanding qualities of the Hamgyeong-do maps (which were created nearly a year before the 《Hamheung & Bukgyeong Shibgyeong-do》 was completed), would have been instrumental in the creation process of this item.
The painting which is going to be examined here is the 《Hamheung-Naewae-Shibgyeong-do 咸興內外十景圖》. The item features the description of the landscape of the Hamheung region and the nearby areas, and is currently in custody of the National Museum of Korea. This item shows a mixed quality, as it is essentially a map. while it is also a painting. Current researches consider this type of creative fashion to have been very popular during the latter half of the 17th century, as the “Real Scenery" paintings (實景山水畵) of that era seem to have been containing both pictorial qualities and map-like qualities at the same time.
The unique characteristics of this painting fashion urge us to explore the inherent qualities of this fashion instead of only considering this fashion to have been a mere predecessor to the 18th century's "true-view" scenery painting. Hence, the internal composition of the 《Hamheung-Naewae-Shibgyeong-do》 was picked up for examination, as a perfect example and embodiment of that creative fashion.
The designation number of this portable picture album is Object No. Shin-15776. The item is composed of 19 leaves (pages) of pictures, and the pages are colored. The cover has the title 《咸興內外十景圖 Hamheung-Naewae-Shibgyeong-do》 on it. Contents, 9 places from the Hamheung area, and 10 other places of the Hamgyeong-do region are illustrated in this album.
Compared to the Seongjinjin-do (城津鎭圖) or the Chilbosan-do (七寶山圖) paintings from the 《Bukgwansuchang-rok (Album of pictures depicting the travel to the Northern land)》 painting, it seems like the 《Hamheung-Naewae-Shibgyeong-do) did inherit the composition style of the latter half of the 17th century. Presumably, the composition style must have also been shared by paintings like the 《Hamheung-Shibgyeong-do (Ten Magnificent Landscape Scenes of the Hamheung Region)》 or the Bukgwan-Shibgyeong-do (Ten Magnificent Landscape Scenes of the Northern Area) which were all created by Nam, Gu-Man during the latter half of the 17th century (the original painting is missing, and the current paintings are believed to have been copied in the 18th or 19th century).
The description pattern of the 《Hamheung-Naewae-Shibgyeong-do) indicates that the illustrated objects of the landscape were not arbitrarily or randomly positioned in the picture, but carefully coordinated to depict the actual landscape as realistically as possible. This becomes even dearer when the item is compared to other maps which were created in that time period. Visual emphasis on certain areas confirm this observation, as important places were magnified while other circling area" were reduced, to secure distinct views of those particular center areas while also allowing the entire picture to show the overall situations of the whole region.
Various composition styles are displayed in this item, but the most dominant fashions could be named as follows: 1) A wide view which allows the viewers to comprehend the relationship between independent objects and the overall landscape, 2) A smaller view which covers a limited area but still allows the viewers to grasp multiple landscape patterns, and 3) the smallest view which only provides the viewers with information regarding a single object.
Items like this should have tremendously benefitted from the previous figures' ingenuity and efforts. In this case, the creative skills and geographical knowledge of Nam, Gu-man, and the outstanding qualities of the Hamgyeong-do maps (which were created nearly a year before the 《Hamheung & Bukgyeong Shibgyeong-do》 was completed), would have been instrumental in the creation process of this item.
목차
Ⅰ. 序論
Ⅱ. 《咸興內外十景圖》와 南九萬과의 관계
Ⅲ. 《咸興內外十景圖》의 製作時期
Ⅳ. 《咸興內外十景圖》의 구도
Ⅴ. 《咸興內外十景圖》를 통해 본 南九萬題〈咸興十景圖〉, 〈北關十景圖〉의 성격
Ⅵ. 結論
ABSTRACT
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