개인구독
소속 기관이 없으신 경우, 개인 정기구독을 하시면 저렴하게
논문을 무제한 열람 이용할 수 있어요.
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
In the period of modernization, Japhwabyung (雜畵屛), a kind of folding screen that draws a variety of genres of paintings such as flowering plant paintings, oddly shaped rock paintings, plant and insects paintings, flower and bird paintings, fishes and crabs paintings, birds and animals paintings, landscape paintings, figure paintings, celadons and broken-stemmed flower paintings and etc on each separate sheet of painting paper become popular with Seoul painting circles as the center and local painting circles.
The reasons Japhwabyung was produced in Seoul painting circles and local painting circles almost simultaneously and expanded are found in the establishment and prevalence of a space for circulating paintings and calligraphies from the modern point of view. A space for circulating paintings and calligraphies made a contribution to the popularization of paintings and writings and led to the prevalence of sensitive and decorative painting styles. The expansion of distribution channels of paintings and writings and the popularization of art and culture accelerated commercialization of paintings and writing and the way of painting began to change differently from the previous era. The changes in paintings and writings distribution structures brought into a great vogue of the genre of paintings and painting styles established by famous painter and writers at that time. Such a phenomenon deepened while a professional distribution space for paintings and writings was established and expanded not only in Seoul but in other regions by 1900's.
Japhwabyung style was established under the influences of Japhwachaek (雜畵冊, various kinds of paintings in a picture book), flowering plant paintings in folding screens, flower and bird paintings in folding screens. Baeknapbyung (百衲屛), Baekseonbyung (百扇屛), and etc produced by painting circles in Korea, China, and Japan.
While specific trends of Japhwa (雜畵) in painting circles during the period of modernization were patterned in each local painting circle, comparatively, various genres of paintings were observed in Seoul painting circles and they produced Japhwabyung adding some genres such as flowering plant paintings. oddly shaped rock paintings. plant and insects paintings, landscape paintings to flower and bird paintings, fishes and crabs paintings, and birds and animals paintings.
As the composition is seen in most Japhwabyung, it can be a representative genre of paintings. In the case of Pyungyang painting circle, Japhwabyung is produced by adding painting of celadons and broken-stemmed flowers or flower and bird paintings to flowering plant paintings and oddly shaped rock paintings. On the other hand, Honam and Daegu painting circles show different aspects of Japhwa trends. The painting of the eight gracious plants in folding screens is produced in Honam painting circle and the painting of the four gracious plants in eight folding screens and joint Japhwa are produced in Daegu painting circle.
The study on production and prevalence of Japhwabyung is significant because it shows the universality and particularity of each painting circle in the flow of painting circles in East Asia as well as meaningful as a study on the aspects of painting circles during the period of modernization.
The reasons Japhwabyung was produced in Seoul painting circles and local painting circles almost simultaneously and expanded are found in the establishment and prevalence of a space for circulating paintings and calligraphies from the modern point of view. A space for circulating paintings and calligraphies made a contribution to the popularization of paintings and writings and led to the prevalence of sensitive and decorative painting styles. The expansion of distribution channels of paintings and writings and the popularization of art and culture accelerated commercialization of paintings and writing and the way of painting began to change differently from the previous era. The changes in paintings and writings distribution structures brought into a great vogue of the genre of paintings and painting styles established by famous painter and writers at that time. Such a phenomenon deepened while a professional distribution space for paintings and writings was established and expanded not only in Seoul but in other regions by 1900's.
Japhwabyung style was established under the influences of Japhwachaek (雜畵冊, various kinds of paintings in a picture book), flowering plant paintings in folding screens, flower and bird paintings in folding screens. Baeknapbyung (百衲屛), Baekseonbyung (百扇屛), and etc produced by painting circles in Korea, China, and Japan.
While specific trends of Japhwa (雜畵) in painting circles during the period of modernization were patterned in each local painting circle, comparatively, various genres of paintings were observed in Seoul painting circles and they produced Japhwabyung adding some genres such as flowering plant paintings. oddly shaped rock paintings. plant and insects paintings, landscape paintings to flower and bird paintings, fishes and crabs paintings, and birds and animals paintings.
As the composition is seen in most Japhwabyung, it can be a representative genre of paintings. In the case of Pyungyang painting circle, Japhwabyung is produced by adding painting of celadons and broken-stemmed flowers or flower and bird paintings to flowering plant paintings and oddly shaped rock paintings. On the other hand, Honam and Daegu painting circles show different aspects of Japhwa trends. The painting of the eight gracious plants in folding screens is produced in Honam painting circle and the painting of the four gracious plants in eight folding screens and joint Japhwa are produced in Daegu painting circle.
The study on production and prevalence of Japhwabyung is significant because it shows the universality and particularity of each painting circle in the flow of painting circles in East Asia as well as meaningful as a study on the aspects of painting circles during the period of modernization.
목차
Ⅰ. 머리말
Ⅱ. 개화기 화단의 신경향
Ⅲ. 잡화병 양식의 복합적 요소와 특징
Ⅳ. 맺음말
참고문헌
ABSTRACT
참고문헌 (51)
참고문헌 신청
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
근대기 지방화단 연구 : 서울화단과의 영향관계를 중심으로
한국근현대미술사학
2009 .12
-
죽화(竹畵)의 유형과 분류체제의 정립을 위한 시론
미술사논단
2018 .12
-
이용우(李用雨, 1902-1952)의 ‘묵로’시대 회화 연구 : 인물화와 화조화를 중심으로
한국근현대미술사학
2018 .12
-
회화의 위기, 회화의 대안
미술이론과 현장
2004 .01
-
고려 초기 회화의 조명
미술사논단
2019 .06
-
藹春 申命衍의 繪畵
미술사연구
2007 .12
-
명대 궁정화조화의 원형과 새로운 화풍
미술사연구
2012 .12
-
고려 중기의 북송과의 회화 교류
미술사논단
2019 .12
-
화문과 화제의 분류체제
미술사논단
2018 .06
-
조선 후기 남종화풍 문인산수화의 모방과 창작 : 화보의 분류 체계와 그 수용
미술사논단
2016 .06
-
19세기 「朝鮮書畵傳」을 통해 본 韓日 繪書交流
미술사학연구(구 고고미술)
2012 .03
-
1990년대 한국화 읽기를 위한 제언 : 박생광 이후 채색화의 부흥과 영향
미술사논단
2018 .06
-
道岬寺 觀世音菩薩三十二應幀의 圖像 硏究
미술사학연구(구 고고미술)
2003 .12
-
근대기 평양지역 동양화단(東洋畵壇)의 형성과 전개
한국근현대미술사학
2014 .12
-
현대 한국 서양화 사조 연구 : 국전 화풍을 중심으로
한국근현대미술사학
2015 .12
-
19세기 한·중 개항장 풍속화의 기능과 특징
한국근현대미술사학
2015 .07
-
開化期 서울畵壇의 後援과 繪畵 活動 硏究
미술사학연구(구 고고미술)
2009 .09
-
조선 후기 한궁도 연구
미술사학연구(구 고고미술)
2018 .09
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-650-002525330