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A great deal of paintings are extant from the late Chos?n period (c. 1700-1850). and they show diverse and creative painting-techniques. which are distinguishable from those of other periods. In the figure painting of this period. eighteen drawing techniques are discernible. A number of them are quite traditional, and tiexianmiao 鐵線描 is one of them. Tiexianmiao in the late Chos?n period was based on the traditional line-technique that had existed since the mid-Chos?n period. and on this foundation, various individual styles were unfolded. Yousi tiexianmiao 遊絲鐵線描 is found in portrait paintings of the late Chos?n period with its characteristic, thin-and-stiff lines with sharp angles. It was also employed in genre paintings in a slightly different manner. On the other hand, it is hard to see the gaogu yousimiao 高古遊絲描 of the Li Gonglin style. Simultaneously, despite numerous accounts of Gu Kaizhi since the early Chos?n period. it is difficult to find the gaogu yousimiao of the Gu Kaozhi style in the figure paintings of this period. Dingtou shumimiao 釘頭鼠尾描 was widely applied in the Daoist and Buddhist figure paintings of this period in close association with the works of the mid-Chos?n period. The wide use of this technique is comparable with the situation in figure paintings of the Zhe school of China, which is closely related to the Daoist and Buddhist figure paintings of Chos?n. In an eighteen-panel folding screen depicting Daoist immortals. Kim Hong-do combined the method derived from the Zhe-school paintings of the mid-Chos?n period and closely related to Wu Wei style with that derived from the Daoist and Buddhist figure paintings of the mid-Chos?n period connected to Yuan and Ming paintings. In his album of genre scenes we also find various techniques applied ranging from that used by the Zhe-school painters of Ming to jianpimiao 減筆描 frequently used by Yangzhou-school painters of Qing. Hunmiao 混描 was often employed in genre paintings of this period. It was extensively used by Cho Y?ng-s?k during the reign of Yongjo and by Kim Hong-do during the reign of Ch?ngio, albeit in a different way.
It is notable that the techniques employed in the figure paintings of the late Chos?n period reveal a close connection with to those of Yangzhou school of China. Such painters as Sim Sa-j?ng, Kim Hong-do, Yi In-mun, Kim T?k-sin, and Yi Chae-gwan used jianpimiso combined with mogufa 沒骨法. Min Ch?ng's distinct manner of realistically describing the facial expression with tokp'il 禿筆 are closely related to the techniques applied in Daoist figure paintings of Kim Hong-do produced in his later years. Besides, his zhenpi shuiwenmiao 戰筆水紋描 also has to do with the figure paintings of Huang Shen 黃愼. Likewise, the drawing methods of Yangzhou-school painters were extensively employed during the late Chos?n period.
It is notable that the techniques employed in the figure paintings of the late Chos?n period reveal a close connection with to those of Yangzhou school of China. Such painters as Sim Sa-j?ng, Kim Hong-do, Yi In-mun, Kim T?k-sin, and Yi Chae-gwan used jianpimiso combined with mogufa 沒骨法. Min Ch?ng's distinct manner of realistically describing the facial expression with tokp'il 禿筆 are closely related to the techniques applied in Daoist figure paintings of Kim Hong-do produced in his later years. Besides, his zhenpi shuiwenmiao 戰筆水紋描 also has to do with the figure paintings of Huang Shen 黃愼. Likewise, the drawing methods of Yangzhou-school painters were extensively employed during the late Chos?n period.
목차
Ⅰ. 머리말
Ⅱ. 18種 描法의 槪念과 類型
Ⅲ. 朝鮮後期 人物畵 描法의 展開
Ⅳ. 맺음말
[ABSTRACT]
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UCI(KEPA) : I410-ECN-0101-2009-609-014718905