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
The intercourse of the Joseon paintings with the chinese paintings flourished in the late Joseon dynasty, compared to the previous ages, and that intercourse was mainly via the special envoys sent to Beijing, rather than on a court-to-court basis.
On the records, we can see many cases where d1e envoys, out of curiosity, had the chinese professional painters portray them. 111e envoys, the top-notch literati of the Joseon dynasty, had good relationships with the chinese literati on a private level, and the chinese literati sometimes portrayed the Joseon envoys as a symbol of friendship The former type presents the subject seated on a chair, dressed in his official robes and a black silk hat. In contrast, the latter type is composed mainly of simple linear description,
The envoys returned home with these portraits, which had an immediate impact on the painting circles of the Joseon dynasty. But the Joseon people did not accept these Chinese portraits unconditionally. Among the elements included in the chinese portraits, some were accepted completely, and others were discarded tight after the influx, and the others were temporality in vogue to be modified at last. This modification process is very interesting, because it indicates the inclination of the Korean people.
To go more specific, we can see four characteristics derived from the Chinese portraits in the late Ming and early Qing period. those are the frontal view, the pose of hands (one hand is on his knee, and the other holding the belt on his waist), the chair covered with me whole tiger skin, the placement of the shoes on the platform, which is similar to the shape of Chinese character 八. Among those characteristics, Joseon people felt strongly opposed to the pose of hands. They had been preferring the folded hands so much that the hands of this style can be found even on me portraits painted in China and brought in to Korea. The frontal view hung on in the short tenn, but eventually gave way to the 8/10-9/10 view. Because the Joseon people did not like the self-expression and arrogance conveyed by the pose of me hands and the frontal view. And because the Joseon portraits served for memorial service and ancestor worship. However, the chair covered with tiger skin mat showed off social wealth and dignity and the placement of shoes in the shape of 八, prevailed till me end of me dynasty.
On the other hand, the portrait style with linear description did not gain stream in the late Joseon dynsty, Thanks in part to the Joseon people's obsession mat portrait paintings should be color-painted on a huge silk canvas, and due to the technical difficulty required to product a simple but telling work for tbe joseon literati.
The Chinese portraits, imported by the envoyes to Beijing, had an impact on korean portraits. The elements, however, were adjusted and modified according to the preference of me Joseon people. The consideration of this aspect could give an due to the Korean disposition different from that of the Chinese people.
On the records, we can see many cases where d1e envoys, out of curiosity, had the chinese professional painters portray them. 111e envoys, the top-notch literati of the Joseon dynasty, had good relationships with the chinese literati on a private level, and the chinese literati sometimes portrayed the Joseon envoys as a symbol of friendship The former type presents the subject seated on a chair, dressed in his official robes and a black silk hat. In contrast, the latter type is composed mainly of simple linear description,
The envoys returned home with these portraits, which had an immediate impact on the painting circles of the Joseon dynasty. But the Joseon people did not accept these Chinese portraits unconditionally. Among the elements included in the chinese portraits, some were accepted completely, and others were discarded tight after the influx, and the others were temporality in vogue to be modified at last. This modification process is very interesting, because it indicates the inclination of the Korean people.
To go more specific, we can see four characteristics derived from the Chinese portraits in the late Ming and early Qing period. those are the frontal view, the pose of hands (one hand is on his knee, and the other holding the belt on his waist), the chair covered with me whole tiger skin, the placement of the shoes on the platform, which is similar to the shape of Chinese character 八. Among those characteristics, Joseon people felt strongly opposed to the pose of hands. They had been preferring the folded hands so much that the hands of this style can be found even on me portraits painted in China and brought in to Korea. The frontal view hung on in the short tenn, but eventually gave way to the 8/10-9/10 view. Because the Joseon people did not like the self-expression and arrogance conveyed by the pose of me hands and the frontal view. And because the Joseon portraits served for memorial service and ancestor worship. However, the chair covered with tiger skin mat showed off social wealth and dignity and the placement of shoes in the shape of 八, prevailed till me end of me dynasty.
On the other hand, the portrait style with linear description did not gain stream in the late Joseon dynsty, Thanks in part to the Joseon people's obsession mat portrait paintings should be color-painted on a huge silk canvas, and due to the technical difficulty required to product a simple but telling work for tbe joseon literati.
The Chinese portraits, imported by the envoyes to Beijing, had an impact on korean portraits. The elements, however, were adjusted and modified according to the preference of me Joseon people. The consideration of this aspect could give an due to the Korean disposition different from that of the Chinese people.
목차
서언
중국 초상화의 유입과 한국적 변용의 문제
결언
ABSTRACT
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