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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 미술사연구회 미술사연구 미술사연구 제39호
- 발행연도
- 2020.12
- 수록면
- 117 - 162 (46page)
- DOI
- 10.52799/JAH.2020.12.39.117
이용수
초록· 키워드
오류제보하기
The 1935 Sketch for the Portrait of King Sejo created by Kim Eun-ho(金殷鎬) is one of a few portraits, which allows us to identify a face completely. In the portrait, King Sejo gives a young and mild impression and it clashes with a long-standing image of King Sejo, or a historical memory where he was the monarch of the rule by force who seized the throne of his nephew. Therefore, it has drawn an attention of the public. On the other hand, there is an academic research assuming it is the unfinished version since the expression of the face is flat and rough. Considering that the face seems to have been damaged and changed in the process of transmission and have become far from the actual image of King Sejo, however, this Sketch is the completed version as the ‘Sketch’ in face. Such situation can be examined by the history of destruction conservation of the Portrait of King Sejo.
The Portrait of King Sejo, originally produced in the mid-15th century, had suffered severe damage and deterioration over time since Imjin War and Manchu war. Its repair works were done four times between 1637 and 1713. During the works much restoration has been done for the rest of the part except for the face including supplementation of missing strokes or coloring, whereas, only preservation has been done for the face without restoration. There was no reference for restoration of the original face since the Portrait of King Sejo was the only version in those days. In addition, there was strict principle of “Ilhobulsa”(一毫不似, meaning literally that ‘it is not the same person if a single hair is not the same as his hair’) for portraits. Therefore, no one could dare to restore by imagination.
In 1735, under the judgement that repair was not useful anymore, it was decided to produce a copy in order to preserve the image. Historical records show that focus was put on copying the damaged face of the original as it was. However, restoration was done for some missing strokes in a way of respecting the authenticity. That is, its image came to be distanced from that of the original due to the damage at first and the subsequent modification by copying. And then, in 1935, Kim Eun-ho copied the version of the 1735 copy. The reason why there are few wrinkles and beards on the face of the 1935 Sketch for the Portrait of King Sejo is that strokes were missing by prior damage and there was no imaginary restoration of them in the process of repair·copy. Hence, facial image of King Sejo left at Sketch for the Portrait of King Sejo represents historical traces on which the portrait of King Sejo has been preserved and transmitted as well as it is the material evidence that allows us to get a sense of the ideas and aesthetics on the portrait by the contemporary people in those days.
The Portrait of King Sejo, originally produced in the mid-15th century, had suffered severe damage and deterioration over time since Imjin War and Manchu war. Its repair works were done four times between 1637 and 1713. During the works much restoration has been done for the rest of the part except for the face including supplementation of missing strokes or coloring, whereas, only preservation has been done for the face without restoration. There was no reference for restoration of the original face since the Portrait of King Sejo was the only version in those days. In addition, there was strict principle of “Ilhobulsa”(一毫不似, meaning literally that ‘it is not the same person if a single hair is not the same as his hair’) for portraits. Therefore, no one could dare to restore by imagination.
In 1735, under the judgement that repair was not useful anymore, it was decided to produce a copy in order to preserve the image. Historical records show that focus was put on copying the damaged face of the original as it was. However, restoration was done for some missing strokes in a way of respecting the authenticity. That is, its image came to be distanced from that of the original due to the damage at first and the subsequent modification by copying. And then, in 1935, Kim Eun-ho copied the version of the 1735 copy. The reason why there are few wrinkles and beards on the face of the 1935 Sketch for the Portrait of King Sejo is that strokes were missing by prior damage and there was no imaginary restoration of them in the process of repair·copy. Hence, facial image of King Sejo left at Sketch for the Portrait of King Sejo represents historical traces on which the portrait of King Sejo has been preserved and transmitted as well as it is the material evidence that allows us to get a sense of the ideas and aesthetics on the portrait by the contemporary people in those days.
목차
Ⅰ. 머리말
Ⅱ. 세조어진의 제작과 전란으로 인한 훼손
Ⅲ. 세조어진의 수보(1637~1713년)
Ⅳ. 세조어진의 모사(1735, 1935년)
Ⅴ. 〈세조어진 초본〉에 남겨진 보존의 역사
Ⅵ. 맺음말
참고문헌
〈Abstract〉
참고문헌 (75)
참고문헌 신청
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
self-portrait
한국기초조형학회 작품집
2019 .11
-
Portrait
한국기초조형학회 작품집
2019 .11
-
Self-Portrait17-2
한국기초조형학회 작품집
2018 .05
-
Self-portrait
한국기초조형학회 작품집
2023 .11
-
Self-Portrait no.1
한국디자인학회 국제초대전도록
2023 .12
-
portrait
한국기초조형학회 작품집
2019 .05
-
Portrait
한국기초조형학회 작품집
2018 .05
-
Portrait
한국기초조형학회 작품집
2018 .11
-
Self-Portrait18-2
한국기초조형학회 작품집
2018 .11
-
Self-portrait ~ a Person
한국기초조형학회 작품집
2023 .07
-
portrait of memory no.4
한국기초조형학회 작품집
2023 .11
-
Fall 2021 self-portrait
International Invitation Exhibition of Color Works
2021 .12
-
Self-Portrait: Consciousness
한국디자인학회 국제초대전도록
2021 .05
-
숙종 대 초상화 제작과 ‘닮음’의 구현
미술사와 시각문화
2023 .05
-
BLACK PORTRAIT
한국기초조형학회 작품집
2018 .11
-
시니어를 위한 포트레이트(Portrait) 사진교육 프로그램에 대한 연구 -‘인생사진(영정사진) 프로젝트’를 중심으로 -
AURA
2019 .08
-
New Media Studies Related to Portrait Creation with Three Faces Kingdom as the Research Subject
TECHART: Journal of Arts and Imaging Science
2018 .05
-
Shadow Self-Portrait
한국디자인학회 국제초대전도록
2022 .09
-
Illustration “Self Portrait”
한국기초조형학회 작품집
2019 .11
-
<영조어진>의 제작기법 연구 : 의궤 및 유물을 중심으로
미술문화연구
2016 .12
이 논문의 저자 정보
최근 본 자료
댓글(0)
0