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As one of the Korean collections held in Honolulu Academy of Arts, the Screen of Cranes and peaches had been completed a preservation and restoration funded by the National Research Institute for Cultural Heritage in Korea 2006. This essay explores the art historical identity of the Screen of Cranes and peaches including the issues of the artists, the nationality, and the contexts of production. The work was originally one twelve panels screen, which was remounted as two six panel screens. The main motives, cranes and peaches have been considered as the representative symbols of longevity called Sipjangseng 十長生 in East Asia. Therefore, the paintings may have been made to commemorate the birthday celebration of a prominent member of the imperial family. As a decisive evidence, the screen has an inscription which says '?僊拱壽壬寅夏題' on the rock at the first panel. It denotes that the screen was designed to make wishes for the health and longevity of the senior host. Also, if we scrutinize the time, '壬寅 imin', it seems to be true that the Screen of Cranes and peaches, datable to 1902, was taken by liege who prepared to hold the celebration for the Ko-jong Emperor's 51th birthday. In the context of Korean court, it is remarkable that it is year 1902 when Ko-iong entered Kiloso (耆老所, membership of honorable seniors), the same year 40th anniversary inauguration. In 1897, Ko-jong reformed the structure of government and changed the name of his nation from Joseon dynasty (1392-1897) to the Great Han Empire (1897-1910), and launched a large number of new projects in order to enhance national capacity and status in the international community. Since the birthday of Ko-jong was established as a national holiday called Hwangsuseongjeol (皇壽聖節, commemoration of the emperor's birthday) 1897, the 51th birthday celebration was held on August 28th, 1902 on the Gregorian Calender. Therefore, ‘iminha (壬寅夏, summer in 1902)' in the record seems to indicate this period.
The screen is likely to be the largest as well as the most opulent painting to have survived from the Korean court. While the Screen of Cranes and peaches succeeded the tradition of Joseon court painting in terms of the mounting, brush works, and iconography, it also presents an exceptional element of covering the whole background with golden-foil. The method of treating gold foil related to Japanese tradition explains the circumstance of the period that Korean imperial artistic currents were influenced by Japanese court-patronized style. The characteristics of the screen share affinities with works depicting cranes and peaches by Japanese artists such as Taki Katei(瀧和亭, 1830-1901), Ohashi Bishu(大橋美州, ?-?), Mashizu Shunnan(益頭峻南, 1851-1916), and so forth who participated in producing art works for both the court of Joseon dynasty and the Great Han Empire. The fact that the Japanese artists' works were left in Korean palaces also shows the possibility which the Screen of Cranes and peaches was completed by influence of Japanese art tradition currents or by collaboration with Korean and Japanese painters. However, the ham-handed way in which the golden foil is ornamented demonstrates the main artisan was not most likely to be the best Japanese court-patronized artist. This denotes that the screen was completed by the artists of the Great Han Empire court by accepting Japanese methods.
The fact that Ko-jong administrated overall affairs under the slogan of 'gubonsincham' (舊本新參, reviewing the old and learning the new/focusing the old and referencing the new) might have represented that the Screen of Cranes and peaches depicted the eclectic visuality originated from both internal and external currents. Ko-jong's aspiration toward independent modern nation has helped to flourish royal art works and generate imperial style. The exceptional ornaments and gigantic scale of the screen symbolize the representative arts of the Great Han Empire, accepting the innovative style and ostentatious color. Therefore, this screen presents the hidden imperial arts based on multi-cultural styles which were conducted from the desire of the Emperor Ko-jong, who aimed the great Han Empire to be wealthy and powerful nation.
The screen is likely to be the largest as well as the most opulent painting to have survived from the Korean court. While the Screen of Cranes and peaches succeeded the tradition of Joseon court painting in terms of the mounting, brush works, and iconography, it also presents an exceptional element of covering the whole background with golden-foil. The method of treating gold foil related to Japanese tradition explains the circumstance of the period that Korean imperial artistic currents were influenced by Japanese court-patronized style. The characteristics of the screen share affinities with works depicting cranes and peaches by Japanese artists such as Taki Katei(瀧和亭, 1830-1901), Ohashi Bishu(大橋美州, ?-?), Mashizu Shunnan(益頭峻南, 1851-1916), and so forth who participated in producing art works for both the court of Joseon dynasty and the Great Han Empire. The fact that the Japanese artists' works were left in Korean palaces also shows the possibility which the Screen of Cranes and peaches was completed by influence of Japanese art tradition currents or by collaboration with Korean and Japanese painters. However, the ham-handed way in which the golden foil is ornamented demonstrates the main artisan was not most likely to be the best Japanese court-patronized artist. This denotes that the screen was completed by the artists of the Great Han Empire court by accepting Japanese methods.
The fact that Ko-jong administrated overall affairs under the slogan of 'gubonsincham' (舊本新參, reviewing the old and learning the new/focusing the old and referencing the new) might have represented that the Screen of Cranes and peaches depicted the eclectic visuality originated from both internal and external currents. Ko-jong's aspiration toward independent modern nation has helped to flourish royal art works and generate imperial style. The exceptional ornaments and gigantic scale of the screen symbolize the representative arts of the Great Han Empire, accepting the innovative style and ostentatious color. Therefore, this screen presents the hidden imperial arts based on multi-cultural styles which were conducted from the desire of the Emperor Ko-jong, who aimed the great Han Empire to be wealthy and powerful nation.
목차
Ⅰ. 〈해학반도〉 병풍의 내용과 現狀
Ⅱ. 〈해학반도〉 병풍의 제작 배경 및 시기
Ⅲ. 조선왕실의 전통과 〈해학반도〉 병풍
Ⅳ. 〈해학반도〉 병풍의 국적에 대한 논의
Ⅴ. 대한제국 황제의 염원
Ⅵ. 〈해학반도〉 병풍의 유전된 내력
참고문헌
ABSTRACT
참고문헌 (40)
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