지원사업
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.
초록· 키워드
오류제보하기
Haewonjeonshincheop, a double-leaf album painting and one of the most profound works by Shin, Yunbok, reflects the overindulgent atmosphere towards materialistic spending and 'pleasure-seeking' in the city's middle 치ass during the late Joseon period. Accordingly, a common theme of 'pleasure-seeking' and 'amorous' moods exist in Shin's works. These 'pleasure-seeking' images that Shin portrays do not merely demonstrate such images of the city, but more importantly, they seek to evoke sexual desires on the part of the audience. Undemeath the 'pleasure-seeking' images depicted in Shin's works lies the social background of the late 18th and early 19th century, during which an atmosphere that emphasized actual linages of the contemporary was prevalent among the fields of arts and literature. Such a change is mirrored in the exam subjects of genre painting of the Royal Academy within the late Joseon period which mainly assessed the ability to produce works that exemplify the realistic and actual images of contemporary joseon In fact, the majority of the genre painting subjects were related to the city images of Seoul such as 'swing-riding in tlle entertainment district.'
This study focuses on finding the resemblance between the 'pleasure￢seeking' images found in Shin's paintings and the contemporary literature works induding poetry and novels. The main literature text that shares such similar images with Shin, Yunbok s is the amorous novel Jeolhwagidam which was written in the beginning of the 19th Century. However, since there is hardly any record about Shin, Yunbok' s life, induding records on his birth and death, it is cWficult to affirm whether Shin was familiar with amorous novels like jeolhwagidam. Hence it is difficult to simply conclude that Shin executed his 'pleasure-seeking' images based on this kind of novels. Yet, since one of the very few records of Shin indicates that Shin, Yunbok s works of paintings were brought by envoys to Japan in 1811 and 1817, this possibly suggests that Shin was active when the amorous novel jeolhwagidam was written in 1809. From this, it is then presumable that he was familiar with such popular novels and other famous literary works of the contemporary.
In the novel, the author sets the first meeting between Liseng and Sunmae-the male and female lead characters, at the well. Iisaeng while passing by, notices Sunmae s beauty out of all the women around the well anel falls in love with her at first sight. In Shin. Yunbok' s album-leaf, a similar image can also be found in the painting <At the well). Here. there are two women. one sitting and one standing next to the well, and a middle-ageellooking man placed at the upper right hand comer. The viewers are able to assume that the man is not just passing by anel that he is purposely peeking at the sight of these women since his right hand is lightly placed on the top of the stone fence. By placing a peeking man rather than just a passing by person as shown in the novel, the viewers can enjoy and experience the man' s gaze as well as a part of the painting. In the Joseon period, the 'well' was a place where many women gathered day and night. Therefore, the well can be considered as an exclusive place to chatter for women. In addition, it was also a place where men could secretly glance at many beautiful women while passing by. Aware of this fact, Shin also chose the well as the setting place of his figures to provoke amorous linages to the viewer.
Moreover. the amorous novel jeolhwagidam and Shin's works coincide in depicting the main figures' characteristics. For example, in Shin's 〈Offering a drink〉 painting, an old lady is offering a drink to a young man. A girl, whose young age can be guessed by her long braided hair. is sitting with her back towards the viewer. The old lady handing the glass to the young man is the matchmaker 〈also commonly found in amorous novels〉 in order to bring together the main two characters. In the novel Jeolhwagidam the old matchmaker also appears and plays an important role in linking Iisaeng and Sunmae. Her character, depicted in the novel, is quite materialistic and sly. which is quite similar to the same old lady's image as depicted in Shin's 〈Offering a drink〉 painting. A few other paintings of Shin' s 'pleasure-seeking' images like 〈visitor〉, 〈Couple under the moonlight〉 coincide with The images in The novel as well.
The coinciding styles of setting, ways of depicting the figures and other expressive methods used in 'pleasure-seeking' images of Shin, Yoon bok s genre paintings and the novel Jeolhwagidam were inherited to the late nineteenth-century. 'Pleasure-seeking' images in Shin's paintings were carried on to more intimate and sensually erotic paintings where textual images became more obvious. The images shown in the novel ]eolhwagida m can be found in novels like Poeuigyojip, Accordingly, it can be inferred that although art and literature me two different genres, there exist similar codes between the two in terms of expressing images of leisurely acts.
This study focuses on finding the resemblance between the 'pleasure￢seeking' images found in Shin's paintings and the contemporary literature works induding poetry and novels. The main literature text that shares such similar images with Shin, Yunbok s is the amorous novel Jeolhwagidam which was written in the beginning of the 19th Century. However, since there is hardly any record about Shin, Yunbok' s life, induding records on his birth and death, it is cWficult to affirm whether Shin was familiar with amorous novels like jeolhwagidam. Hence it is difficult to simply conclude that Shin executed his 'pleasure-seeking' images based on this kind of novels. Yet, since one of the very few records of Shin indicates that Shin, Yunbok s works of paintings were brought by envoys to Japan in 1811 and 1817, this possibly suggests that Shin was active when the amorous novel jeolhwagidam was written in 1809. From this, it is then presumable that he was familiar with such popular novels and other famous literary works of the contemporary.
In the novel, the author sets the first meeting between Liseng and Sunmae-the male and female lead characters, at the well. Iisaeng while passing by, notices Sunmae s beauty out of all the women around the well anel falls in love with her at first sight. In Shin. Yunbok' s album-leaf, a similar image can also be found in the painting <At the well). Here. there are two women. one sitting and one standing next to the well, and a middle-ageellooking man placed at the upper right hand comer. The viewers are able to assume that the man is not just passing by anel that he is purposely peeking at the sight of these women since his right hand is lightly placed on the top of the stone fence. By placing a peeking man rather than just a passing by person as shown in the novel, the viewers can enjoy and experience the man' s gaze as well as a part of the painting. In the Joseon period, the 'well' was a place where many women gathered day and night. Therefore, the well can be considered as an exclusive place to chatter for women. In addition, it was also a place where men could secretly glance at many beautiful women while passing by. Aware of this fact, Shin also chose the well as the setting place of his figures to provoke amorous linages to the viewer.
Moreover. the amorous novel jeolhwagidam and Shin's works coincide in depicting the main figures' characteristics. For example, in Shin's 〈Offering a drink〉 painting, an old lady is offering a drink to a young man. A girl, whose young age can be guessed by her long braided hair. is sitting with her back towards the viewer. The old lady handing the glass to the young man is the matchmaker 〈also commonly found in amorous novels〉 in order to bring together the main two characters. In the novel Jeolhwagidam the old matchmaker also appears and plays an important role in linking Iisaeng and Sunmae. Her character, depicted in the novel, is quite materialistic and sly. which is quite similar to the same old lady's image as depicted in Shin's 〈Offering a drink〉 painting. A few other paintings of Shin' s 'pleasure-seeking' images like 〈visitor〉, 〈Couple under the moonlight〉 coincide with The images in The novel as well.
The coinciding styles of setting, ways of depicting the figures and other expressive methods used in 'pleasure-seeking' images of Shin, Yoon bok s genre paintings and the novel Jeolhwagidam were inherited to the late nineteenth-century. 'Pleasure-seeking' images in Shin's paintings were carried on to more intimate and sensually erotic paintings where textual images became more obvious. The images shown in the novel ]eolhwagida m can be found in novels like Poeuigyojip, Accordingly, it can be inferred that although art and literature me two different genres, there exist similar codes between the two in terms of expressing images of leisurely acts.
목차
머리말
《惠園傅神帖》의 유흥 분위기
《惠園傅神帖》과 소설 『折花奇談』의 유흥 이미지
맺음말
참고문헌
ABSTRACT
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