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초록· 키워드
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Kwanban jaemy?ng-ch'?p(館伴題名帖) of the Changs?-gak Library collection is one the most representative cases to show the practice making commemorative works and their types by officials who belonged to the Superintendency(都監) and had an affinity ties each other. In particular, this album shows that it was created as a memorial art work that contains preface and list of attendants' names accompanying with illustration named Kwanban jaemy?ng-do(館伴題名圖), and also proves such a work was broadly accepted as a type of paintings of literati gatherings(契會圖).
The panting in this album, Kwanban jaemy?ng-do is the exclusive example that depicts scenes of officials' business that can not be easily found in other paintings of the Superintendency officials. Several paintings of such a gathering have been known to this day, however, this Kwanban jaemy?ng-do occupies an important place because it was made in the late sixteenth century and was described as the specific scenes with setting of the ex-place called y?ng'un-mun(迎恩門).
Given its painting style, one of the characteristics is the depiction that landscape and figures recall the painting style around 1600s. Figures were portrayed with the similar manner of ones shown in the illustrated royal march (班次圖) produced in the early seventeenth century. Therefore, it is possible that there is a relationship between painters and their iconographic preference. The brush works of trees are also shown in depiction of pine trees in other landscape paintings of Anky?n school(安堅派) when compared to their visual description.
The landscape was portrayed as a true-view landscape in the style of Anky?n school that was characterized by short-line and dotted brush texture(短線點?). On the other hand, some eclectic elements were adopted in this painting. It is certain that such a depiction of trees and landscape mentioned earlier had persisted for a long time in the stream of Anky?n school.
Kwanban jaemy?ng-do has a notable element in the light of the manner of true-view landscape painting of the sixteenth century. Thus, it would be possible to say that in the middle Chos?n period(ca. 1550-ca. 1700), the true-view landscape style was employed according to subject matter and other idioms. In this sense, this Kwanban jaemy?ng-do is evaluated as an essential material in terms of its true-view landscape as well as specific scenes almost invisible in other works of the sixteenth century.
The panting in this album, Kwanban jaemy?ng-do is the exclusive example that depicts scenes of officials' business that can not be easily found in other paintings of the Superintendency officials. Several paintings of such a gathering have been known to this day, however, this Kwanban jaemy?ng-do occupies an important place because it was made in the late sixteenth century and was described as the specific scenes with setting of the ex-place called y?ng'un-mun(迎恩門).
Given its painting style, one of the characteristics is the depiction that landscape and figures recall the painting style around 1600s. Figures were portrayed with the similar manner of ones shown in the illustrated royal march (班次圖) produced in the early seventeenth century. Therefore, it is possible that there is a relationship between painters and their iconographic preference. The brush works of trees are also shown in depiction of pine trees in other landscape paintings of Anky?n school(安堅派) when compared to their visual description.
The landscape was portrayed as a true-view landscape in the style of Anky?n school that was characterized by short-line and dotted brush texture(短線點?). On the other hand, some eclectic elements were adopted in this painting. It is certain that such a depiction of trees and landscape mentioned earlier had persisted for a long time in the stream of Anky?n school.
Kwanban jaemy?ng-do has a notable element in the light of the manner of true-view landscape painting of the sixteenth century. Thus, it would be possible to say that in the middle Chos?n period(ca. 1550-ca. 1700), the true-view landscape style was employed according to subject matter and other idioms. In this sense, this Kwanban jaemy?ng-do is evaluated as an essential material in terms of its true-view landscape as well as specific scenes almost invisible in other works of the sixteenth century.
목차
Ⅰ. 머리말
Ⅱ. 《館伴題名帖》의 現狀
Ⅲ. 〈館伴題名圖〉의 槪要
Ⅳ. 序文과 座目의 내용
Ⅴ. 〈관반제명도〉의 양식적 특징
Ⅵ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2010-151-001731027