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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.6
- 수록면
- 233 - 266 (34page)
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초록· 키워드
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Yi Ha-?ng, sobriquet S?kp' a, was the father of King Kojong(r. 1867-1907), the 26th ruler of the Chosen dynasty, and was titled the H?ngs?n Taew?n' gun 興宣大院君 generally called Taew?n' gun.
Yi was a radical politician who attempted to reform the national system with the “Chosen style" manner when he reigned during the turmoil: in law's of the royal family of the Andong Kim clan of the late Chos?n period held sway and the Western empires aimed at conquering Korea. Nevertheless, he sought his own direction for the government developments. On the other side, he was an artist developing his individual orchid paintings based on Kim Ch?ng-h?i' s 金正喜 painting style. He went back and forth between the dominance of the authority and relinquishment of power. Because of his political aspiration, however, he greatly concentrated on creating substantial and lofty orchid paintings as means to express his complicated emotion whenever he was in hard times. As a result, he achieved the dignified literati painting accompanying with poems and calligraphy (shis?hwa ilch'i, 詩書畵一致) as well as his individual manner in depicting ink orchids.
The most distinguished feature in Yi Ha-?ng' s artistic ambience is that he persisted to paint monochrome orchids throughout his whole life. It is assumed that this came from his admiration toward orchids for their refined beauty and elegant fragrance. Moreover, he is supposed to have strenuously disciplined his mentality by portraying orchids because it has served as the embodiment of gentlemens' virtue in literati tradition.
As much as being called "S?kparan 石坡蘭." his well-known orchid paintings established one of the modes of 'Korean indigenous ink orchid paintings" , distinguished from Chinese ones by accomplishing his representative painting style in its composition and brushwork, One of the characteristics in formative stages of ink orchid paintings by Yi is that he pursued individual painting styles by studying an eminent literati calligrapher and painter, Kim Chong-hui' s idioms and by adopting fashionable elements from Chinese ink orchid paintings.
Since his early thirties. he studied calligraphy and orchid paintings under Kim. and was praised by his teacher. Kim emphasized on samj?n-p?b 三轉法, a technique to twist the tip of the brush three times in portraying leaves of orchids, that Yi practiced over again, After the death of Kim. he succeeded his teacher and accepted new composition and depiction in manuals of ink orchid paintings of Ming and Ch'ing China. In particular, when he was expelled from the throne and was dwelling at Chikgok sanbang (直谷山房, Studio of Chikgok). he created three types of ink orchid paintings: the grouping of uprooted orchids with long leaves 群蘭畵. the coupling of orchids and rocks 石蘭畵 with the setting, and the densely grouping of orchids 叢蘭畵. generally mounted as a hanging scroll. nus asserts that such individual modes of his were formed on the basis of Kim Ch?ng-h?i' s ink brush method, and later became the typical type of 50kp 'aran, Among his above mentioned individual modes, the painting of coupling orchid and rocks had developed to the main and constant theme until his late years.
Even after Yi Ha-?ng, a number of orchid painters copied his S?kparan style and his great influence has survived untill today.
Yi was a radical politician who attempted to reform the national system with the “Chosen style" manner when he reigned during the turmoil: in law's of the royal family of the Andong Kim clan of the late Chos?n period held sway and the Western empires aimed at conquering Korea. Nevertheless, he sought his own direction for the government developments. On the other side, he was an artist developing his individual orchid paintings based on Kim Ch?ng-h?i' s 金正喜 painting style. He went back and forth between the dominance of the authority and relinquishment of power. Because of his political aspiration, however, he greatly concentrated on creating substantial and lofty orchid paintings as means to express his complicated emotion whenever he was in hard times. As a result, he achieved the dignified literati painting accompanying with poems and calligraphy (shis?hwa ilch'i, 詩書畵一致) as well as his individual manner in depicting ink orchids.
The most distinguished feature in Yi Ha-?ng' s artistic ambience is that he persisted to paint monochrome orchids throughout his whole life. It is assumed that this came from his admiration toward orchids for their refined beauty and elegant fragrance. Moreover, he is supposed to have strenuously disciplined his mentality by portraying orchids because it has served as the embodiment of gentlemens' virtue in literati tradition.
As much as being called "S?kparan 石坡蘭." his well-known orchid paintings established one of the modes of 'Korean indigenous ink orchid paintings" , distinguished from Chinese ones by accomplishing his representative painting style in its composition and brushwork, One of the characteristics in formative stages of ink orchid paintings by Yi is that he pursued individual painting styles by studying an eminent literati calligrapher and painter, Kim Chong-hui' s idioms and by adopting fashionable elements from Chinese ink orchid paintings.
Since his early thirties. he studied calligraphy and orchid paintings under Kim. and was praised by his teacher. Kim emphasized on samj?n-p?b 三轉法, a technique to twist the tip of the brush three times in portraying leaves of orchids, that Yi practiced over again, After the death of Kim. he succeeded his teacher and accepted new composition and depiction in manuals of ink orchid paintings of Ming and Ch'ing China. In particular, when he was expelled from the throne and was dwelling at Chikgok sanbang (直谷山房, Studio of Chikgok). he created three types of ink orchid paintings: the grouping of uprooted orchids with long leaves 群蘭畵. the coupling of orchids and rocks 石蘭畵 with the setting, and the densely grouping of orchids 叢蘭畵. generally mounted as a hanging scroll. nus asserts that such individual modes of his were formed on the basis of Kim Ch?ng-h?i' s ink brush method, and later became the typical type of 50kp 'aran, Among his above mentioned individual modes, the painting of coupling orchid and rocks had developed to the main and constant theme until his late years.
Even after Yi Ha-?ng, a number of orchid painters copied his S?kparan style and his great influence has survived untill today.
목차
Ⅰ. 머리말
Ⅱ. 李昰應 墨蘭書風의 淵源
Ⅲ. 개성적 墨蘭書 방식의 모색(1874-1875)
Ⅳ. 맺음말
ABSTRACT
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