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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This study examines how the Kanbunbizinzu(寬文美人圖), which sought to be similar to the portraits of Yujos, has been functioned and appreciated. Having multimeanings, the Kanbunbizinzu shows a variety of attempts for understanding pictorial expressions of women and requests for corresponding to realistic techniques. In particular, the Yunazu(湯女圖) reveals various values that support painting. Nonetheless, it is clear that realistic portraits were considerably subject to the habitual regulation with regard to the pictorial expressions of women.
For a painter, painting the portrait of a beautiful woman is a highly difficult task. As mentioned above, this is because beauty paintings and portraits have mutually conflicting vectors. Like this, Kanbunbizinzu seems to connect beauty painting with portrait, or belong to neither of them, but Kanbunbizinzu is a portrait that greatly leans toward beauty painting, comparing with Hujojo(夫女像) at the Yamato Bungakan. Moreover, from the typical facial expressions seemingly completely free from characteristics of portraits, Kanbunbizinzu is judged to have a few portrait-type factors in terms of pictorial expressions.
The classical parody, plagiarized in the Yujo’s portrait remarkably similar to beauty painting in every respect, seems to be not only a portrait owner’s messages, i.e. constant love and ceaseless waiting for a man, but a painter’s revelation of the strategy for coping with the request for characteristics of portraits.
The style of Kanbunbizinzu generated by such classical parody was handed down with a few variations, giving birth to the beauty paintings of uikyo-e, Hisikawa Moronobu, Kaigetsudo Ando, Suzuki Harunobu, and Kitagawa Utamaro. Besides, there were Kion Setoku’s beauty paintings, which does not have a few portrait factors added, in the painting circles of Kyoto at the close of modern times, and Watanabe Kazan’s Kyoshozu(敎書圖) shows a woman painted by a beauty painting artist who was interested in western painting techniques, as shown by the expression of cubic effect in the uneven part of face using the differences in shading and brightness.
The woman image distributed in Japan of modern times is not so much an expression of real woman being as an object living in contemporary society, but as a fictive portrait painted by a man (or woman herself).
I am reminded of the words repeated at the end of Memoirs of a Geisha by Arthur Golden: “All our struggles and victories will leave behind their vestiges like colors on paper.”
For a painter, painting the portrait of a beautiful woman is a highly difficult task. As mentioned above, this is because beauty paintings and portraits have mutually conflicting vectors. Like this, Kanbunbizinzu seems to connect beauty painting with portrait, or belong to neither of them, but Kanbunbizinzu is a portrait that greatly leans toward beauty painting, comparing with Hujojo(夫女像) at the Yamato Bungakan. Moreover, from the typical facial expressions seemingly completely free from characteristics of portraits, Kanbunbizinzu is judged to have a few portrait-type factors in terms of pictorial expressions.
The classical parody, plagiarized in the Yujo’s portrait remarkably similar to beauty painting in every respect, seems to be not only a portrait owner’s messages, i.e. constant love and ceaseless waiting for a man, but a painter’s revelation of the strategy for coping with the request for characteristics of portraits.
The style of Kanbunbizinzu generated by such classical parody was handed down with a few variations, giving birth to the beauty paintings of uikyo-e, Hisikawa Moronobu, Kaigetsudo Ando, Suzuki Harunobu, and Kitagawa Utamaro. Besides, there were Kion Setoku’s beauty paintings, which does not have a few portrait factors added, in the painting circles of Kyoto at the close of modern times, and Watanabe Kazan’s Kyoshozu(敎書圖) shows a woman painted by a beauty painting artist who was interested in western painting techniques, as shown by the expression of cubic effect in the uneven part of face using the differences in shading and brightness.
The woman image distributed in Japan of modern times is not so much an expression of real woman being as an object living in contemporary society, but as a fictive portrait painted by a man (or woman herself).
I am reminded of the words repeated at the end of Memoirs of a Geisha by Arthur Golden: “All our struggles and victories will leave behind their vestiges like colors on paper.”
목차
Ⅰ. 머리말
Ⅱ. 江戶時代 以前의 美女 肖像
Ⅲ. 江戶時代 美女 肖像의 유형
Ⅳ. 맺음말
참고문헌
〈Abstract〉
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UCI(KEPA) : I410-ECN-0101-2009-650-017668536