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
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Sugae Masumi (管江眞澄 1754-1831), who was a herbalist, a scholar in the national literature, a painter, and a poet, was a literary personage in Japan in me late Edo Period He created the voluminous travel diaries Sugae Masumi Travel Records (管江眞澄遊覽記), in which he drew a lot of paintings with various subjects, such as the nature and culture in the northeast region, Unforturately however. no serious study on him, from the point of view of art history has been performed until now. In such a situation, for the first time, I have researched the painter Masumi by concentrating on the landscape paintings, which were in the majority in his paintings.
Sugae Maumi spent most of his life traveling In his adolescence, he learned the national literature and botany: these stuelies formed me foundation of his human relationship, which enabled rum to travel, and became the important inner base of his life-lasting itinerary From appreciating traditional Meisho (名所) to gathering and receding the geographical information and custom of each region, his travel had multiple purposes. which were reflected in the many paintings he drew while traveling Whereas true-view landscape paintings (眞景圖). which Nanga (南畵) painters like Ikeno Taiga (池大雅) usually created under the inlluence of Chinese painting theory basically represented me learning from nature (師造化). Masumi' s real scenery paintings showed not only me attitude of traditional appreciation on the landscape but also multiple interests which were raised by the national literature. botany. and geography Furthermore while fundamentally based on the painting style of Nanga. these paintings were drawn with the western painting techniques such as perspective and influenced by publications of the days such as Meishozue (名所圖繪).
In the late Edo Period elites. like Masurni Daimyos herbalists. and me scholars of the national literature. recocled and painted what they experienced in their travel from the traditional or newly-emerging view point. Their paintings basically differ from the true-view landscape paintings of Nanga painters. who admired Chinese literati paintings. On the contrary these have resemblance to the contemporary Meishozue in mat both painters were interested in the culture of each region. Nevertheless, these are. in the fundamental characteristic and stylistic aspect. still far from Meishozue. which were created to get profit from general public. I think that the paintings in the travel records. including Masumi' s can be described as one type of real scenery paintings in the late Edo Period and that they are peculiar in mat they existed only in Japan among three countries in eastern Asia. Therefore I suggest that the paintings of this type be researched more in depth.
Sugae Maumi spent most of his life traveling In his adolescence, he learned the national literature and botany: these stuelies formed me foundation of his human relationship, which enabled rum to travel, and became the important inner base of his life-lasting itinerary From appreciating traditional Meisho (名所) to gathering and receding the geographical information and custom of each region, his travel had multiple purposes. which were reflected in the many paintings he drew while traveling Whereas true-view landscape paintings (眞景圖). which Nanga (南畵) painters like Ikeno Taiga (池大雅) usually created under the inlluence of Chinese painting theory basically represented me learning from nature (師造化). Masumi' s real scenery paintings showed not only me attitude of traditional appreciation on the landscape but also multiple interests which were raised by the national literature. botany. and geography Furthermore while fundamentally based on the painting style of Nanga. these paintings were drawn with the western painting techniques such as perspective and influenced by publications of the days such as Meishozue (名所圖繪).
In the late Edo Period elites. like Masurni Daimyos herbalists. and me scholars of the national literature. recocled and painted what they experienced in their travel from the traditional or newly-emerging view point. Their paintings basically differ from the true-view landscape paintings of Nanga painters. who admired Chinese literati paintings. On the contrary these have resemblance to the contemporary Meishozue in mat both painters were interested in the culture of each region. Nevertheless, these are. in the fundamental characteristic and stylistic aspect. still far from Meishozue. which were created to get profit from general public. I think that the paintings in the travel records. including Masumi' s can be described as one type of real scenery paintings in the late Edo Period and that they are peculiar in mat they existed only in Japan among three countries in eastern Asia. Therefore I suggest that the paintings of this type be researched more in depth.
목차
머리말
菅江眞澄의 생애와 학문적 배경
菅江眞澄의 유람과 山水畵
菅江眞澄 산수화의 양식분석
맺음말
참고문헌
ABSTRACT
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UCI(KEPA) : I410-ECN-0101-2010-650-002620203