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This article examines the relation between the novel subjects and functions of seventeenth-century painting ordered by Gyonghwasajok and their memories on the war. Paintings which served to record the patron's family and personal history were prevalent during the first half of the seventeenth century when the Kingdom went through hardship by the Hideyoshi invasion in 1592. Scholar-officials living in Seoul and its suburb who rapidly recovered from the Imjin waeran made records of their estates inherited after the plight of war and commemorated special events of the family by ordering paintings for family records. These commemorative paintings announced the patron's public achievements and proclaimed his practice of filial piety. Gyonghwasajok attempted to make their valuable paintings family heirlooms in Gajeonhwacheop, picture albums, by including painting, pieces by noted calligraphers, and poetry and prose by famous writers during the period. This cultural trend was formed by the intention to reassess the reputation of the family and protect family treasures after the war.
After the Horan, Manchu invasion of Joseon, the western parties of the time, Seoin tried to use paintings for their political purpose. The existing paintings of war records emphasize the Confucian virtue of loyalty and fidelity, and seem to strengthen the Confucian order and allegiance for the country of the time. Therefore, the mass production of war record paintings of the second half of the 17th century reveals the influence of the ruling part’s reflection on the two consecutive wars. This shows the achievements of the war were revaluated as loyalty through Confucian value and relates to the formation of central rulers’ reflection on the war, who acknowledged the war zone as the edge of Joseon.
After the Horan, Manchu invasion of Joseon, the western parties of the time, Seoin tried to use paintings for their political purpose. The existing paintings of war records emphasize the Confucian virtue of loyalty and fidelity, and seem to strengthen the Confucian order and allegiance for the country of the time. Therefore, the mass production of war record paintings of the second half of the 17th century reveals the influence of the ruling part’s reflection on the two consecutive wars. This shows the achievements of the war were revaluated as loyalty through Confucian value and relates to the formation of central rulers’ reflection on the war, who acknowledged the war zone as the edge of Joseon.
목차
Ⅰ. 서언
Ⅱ. 전란 후 조선사회와 회화
Ⅲ. 전쟁의 기억과 사가기념화에 반영된 문벌 의식
Ⅳ. ‘변지(邊地)’의식과 전쟁기록화
Ⅴ. 결언
【Abstract】
참고문헌 (45)
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UCI(KEPA) : I410-ECN-0101-2009-911-018518528