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초록· 키워드
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This study begins with the question: “Can scorched paintings, often known as pyrography, be considered as part of inexpensive and popular folk paintings?” To do so, it first analyzes the activities and works of major artists who practiced scorched paintings on paper or silk during the nineteenth and twentieth centuries in the Joseon Dynasty. One of the pioneers of scorched paintings was Bak Chang-gyu from a region named Imsil in the early nineteenth century. With the support of high government of ficials who recognized his extraordinary talents, Bak gained distinction as an expert in scorched paintings and later was appointed a civil of ficer to work for paintingrelated projects in the government. Since burning paper or silk using a fired metal tool required a particular set of techniques, the art of scorched paintings was inherited by the Bak clan from Miryang; particularly its branch of Hogyegong, to which Bak Chang-gyu was born, produced the largest number of pyrographers. Although no subsequent artists had skills comparable to those of Bak Chang-gyu, his descendants like Bak Gye-dam and Bak Byeong-su revived the genre of scorched paintings in the early twentieth century. Meanwhile, Bak Gye-dam’s contemporaraneous artist Baek Nam-cheol was designated as the official successor of Bak, producing many of such pyrographers from the family of Baek as Baek Nam-yong and Baek Hak-gi. Baek Hak-gi enjoyed a great amount of popular fame while performing demonstrations of making scorched paintings in front of the public. The key factor in the development of scorched paintings in the early twentieth century was the sponsorship of the Japanese Government General of Korea and their popularity among the Japanese audiences.
Bak Chang-gyu created his works with an exceptional command that made his works reminiscent of ink paintings, thereby proposing a higher level of quality achievable in scorched paintings and giving the genre a potential of being literary style paintings. The significant influence of his works to the later generation of artists ranged from the painting"s subject matters to seals, inscriptions, artist signatures, and to the visual manner that resembled the Southern School"s literary painting style.
Furthermore, Bak Gye-dam established formal prototype of folding screens made of scorched paintings, in which the Four Gentlemen and other f lowering plants often serve as the central features surrounded by birds, insects, and oddly-shaped rocks. Apart from the production of scorched folding screens, Bak Gye-dam developed the stylistic languages Bak Chang-gyu did not attempt. For example, he first used a seal in the shape of a plantain leaf, a stamp marked in the beginning of an inscription-a pictorial tradition that was followed by later artists like Bak Byeong-su, Bak Sang-jeon, as well as members of the Baek family like Baek Nam-cheol and Baek Hak-gi, who did not invent their own pyrographic conventions but rather continued to follow the established practice.
In conclusion, the development of scorched paintings in Joseon era displays a path distinguishable from that of folk paintings produced for practical and decorative purposes; backed by the demand of high-class supporters who appreciated the particular genre, those who practiced scorched paintings formed a specific lineage based on blood as well as apprenticeship; moreover, the artists matured their own individual styles comparable to those of ink paintings- in both craftsmanship and artistic virtuosity.
Bak Chang-gyu created his works with an exceptional command that made his works reminiscent of ink paintings, thereby proposing a higher level of quality achievable in scorched paintings and giving the genre a potential of being literary style paintings. The significant influence of his works to the later generation of artists ranged from the painting"s subject matters to seals, inscriptions, artist signatures, and to the visual manner that resembled the Southern School"s literary painting style.
Furthermore, Bak Gye-dam established formal prototype of folding screens made of scorched paintings, in which the Four Gentlemen and other f lowering plants often serve as the central features surrounded by birds, insects, and oddly-shaped rocks. Apart from the production of scorched folding screens, Bak Gye-dam developed the stylistic languages Bak Chang-gyu did not attempt. For example, he first used a seal in the shape of a plantain leaf, a stamp marked in the beginning of an inscription-a pictorial tradition that was followed by later artists like Bak Byeong-su, Bak Sang-jeon, as well as members of the Baek family like Baek Nam-cheol and Baek Hak-gi, who did not invent their own pyrographic conventions but rather continued to follow the established practice.
In conclusion, the development of scorched paintings in Joseon era displays a path distinguishable from that of folk paintings produced for practical and decorative purposes; backed by the demand of high-class supporters who appreciated the particular genre, those who practiced scorched paintings formed a specific lineage based on blood as well as apprenticeship; moreover, the artists matured their own individual styles comparable to those of ink paintings- in both craftsmanship and artistic virtuosity.
목차
Ⅰ. 머리말
Ⅱ. 19세기 전반 烙畫家의 탄생
Ⅲ. 20세기 전반 낙화의 부흥
Ⅳ. 박계담의 후계자 白氏 一家
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (51)
참고문헌 신청
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