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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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Dream Journey to the Peach Blossom Land(夢遊桃源圖) was based on Lee Yong’s dream, who was King Sejong’s third prince and was the royal prince An-Pyung(安平大君, 1418-1453), on April 20th of the lunar calendar in 1447. His dream of the Peach Blossom Land was called ‘Dowonmong(桃源夢)’ which as special as it would last forever in the history of calligraphy and literature in Joseon Dynasty. After having the dream, the royal prince An-Pyung encouraged the famous court painter, An-Gyeon(安堅) to paint about the dream and wrote the document(記文). Also, he let contemporary celebrities write and recite some laudable prefaces and poems, which were called Jechan(題贊) in Korean. By doing so, the most enchanted garden amongst fairylands, the Peach Blossom land(桃源境) was represented by the best elites in the era of King Sejong, which was the golden age of the culture in the early Joseon, and showed the great codification of Gwan-gak Literature(館閣文藝).
So, I examined synthetically the theme and plasticity, which formed the creative world of Dream Journey to the Peach Blossom Land , based on the results of the existing artistic and literary research along with the following factors: the whole story how Dream Journey to the Peach Blossom Land scroll(夢遊桃源圖卷軸) came out, the process of decorating the painting with the largescale(大軸), the time of being taken it out of Korea to Japan, and the background of shedding new light on as a modern ‘artifact’.
The figuration of Dream Journey to the Peach Blossom Land was created focusing on representing the royal prince An-Pyung’s dream glorifiable and exalting it as a holy event to convey to India. In the dream the royal prince An-Pyung went on a journey in the Peach Blossom Land where no one had reached for a thousand year since a fisherman had visited. The style of Dream Journey to the Peach Blossom Land was mixed and recreated by An-Gyeon in the traditional context of the painting in the late Goryeo including Li-kuo School(李郭派) or the previous Zhe School(前浙派) in Won Dynasty, in which eclecticism and formalism were pursued on the basis of Li Cheng(李成) and Kuo Xi(郭熙)’s style for the classical ‘Ideal Landscape’ in the Northern Song Dynasty, as well as the Buddhist paintings that accepted and developed styles of those Schools.
By fusion and recreation An-Gyeon established a new traditional landscape painting of Joseon-style and became as the originator of it with the representation of a fairly land by Joseon-stlye in the art field in the end of the Goryeo Dynasty and the Early Years of the Joseon Dyansty where the ideology and aesthetics of landscape paintings as enjoying materials were on the rise. Also, he affected for a long time as the royal prince An-Pyung hoped, who was the core in appreciating Dream Journey to the Peach Blossom Land, through An-Gyeon School that a civil minister Lee-Shik(李植, 1584-1647) during the reign of King Injo designated as ‘An-Gyeon’s school(安可度輩)’.
So, I examined synthetically the theme and plasticity, which formed the creative world of Dream Journey to the Peach Blossom Land , based on the results of the existing artistic and literary research along with the following factors: the whole story how Dream Journey to the Peach Blossom Land scroll(夢遊桃源圖卷軸) came out, the process of decorating the painting with the largescale(大軸), the time of being taken it out of Korea to Japan, and the background of shedding new light on as a modern ‘artifact’.
The figuration of Dream Journey to the Peach Blossom Land was created focusing on representing the royal prince An-Pyung’s dream glorifiable and exalting it as a holy event to convey to India. In the dream the royal prince An-Pyung went on a journey in the Peach Blossom Land where no one had reached for a thousand year since a fisherman had visited. The style of Dream Journey to the Peach Blossom Land was mixed and recreated by An-Gyeon in the traditional context of the painting in the late Goryeo including Li-kuo School(李郭派) or the previous Zhe School(前浙派) in Won Dynasty, in which eclecticism and formalism were pursued on the basis of Li Cheng(李成) and Kuo Xi(郭熙)’s style for the classical ‘Ideal Landscape’ in the Northern Song Dynasty, as well as the Buddhist paintings that accepted and developed styles of those Schools.
By fusion and recreation An-Gyeon established a new traditional landscape painting of Joseon-style and became as the originator of it with the representation of a fairly land by Joseon-stlye in the art field in the end of the Goryeo Dynasty and the Early Years of the Joseon Dyansty where the ideology and aesthetics of landscape paintings as enjoying materials were on the rise. Also, he affected for a long time as the royal prince An-Pyung hoped, who was the core in appreciating Dream Journey to the Peach Blossom Land, through An-Gyeon School that a civil minister Lee-Shik(李植, 1584-1647) during the reign of King Injo designated as ‘An-Gyeon’s school(安可度輩)’.
목차
Ⅰ. 머리말
Ⅱ. 안평대군의 桃源夢과 시ㆍ서ㆍ화 재현
Ⅲ. 안견의 〈몽유도원도〉
Ⅴ. 맺음말
참고문헌
ABSTRACT
참고문헌 (39)
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UCI(KEPA) : I410-ECN-0101-2013-650-000639926