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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This study demonstrates that the Painting of Birthday -Celebration of Guo Ziyi (郭子儀祝壽圖) of China and the Painting of Guo Fenyang’s Enjoyment -of - Life(郭汾陽行樂圖) of Korea are the paintings of the same subject with different titles, derived from the life of Guo Ziyi(郭子儀, 697-781), the Lord of Fenyang(汾 陽王). Given such specific subject-matter, these paintings, regardless of country, involve numerous figures and strong architectural presence, thus can be aptly called “architectural figure painting.” Nevertheless each bears distinct mark of its own nationality. Thus, it presents an interesting art historical case in which two countries sharing the same subject, but each with its own characteristic development in iconography and style.
In China this subject of painting appears to have been popular mainly outside of the palatial context from the turn of 17th century through the modern times in various media including lacquer folding-screen. In Korea, the earliest known record of the painting dates from about 1700. It became popular particularly in multi-fold screen format both in and outside of the palace. No scholarly research on the subject has been found in China up to now, not to mention comparative studies in both countries.
This study is presented in two separate parts: “A Study on the Painting of Birthday -Celebration of Guo Ziyi of China,” and “A Study on the Painting of Guo Fenyang’s Enjoyment -of -Life of Korea”. In the first part, it examines China’ s historical development of the Guo Ziyi-related subject in various art forms and literature. It also attempts an iconographical and stylistic classification of representative specimen. This also serves the purpose of comparison with the Korean counterparts. In the second part, it traces Korea’s historical context and development of Guo Ziyi-related subjects in art and literature. It then moves on to the screen paintings and reveals the extent of Korean transformation of the given subject by the end of 18th century in terms of pictorial intention and symbolic purpose, particularly apparent in architectural configuration and figurative presentation.
In China this subject of painting appears to have been popular mainly outside of the palatial context from the turn of 17th century through the modern times in various media including lacquer folding-screen. In Korea, the earliest known record of the painting dates from about 1700. It became popular particularly in multi-fold screen format both in and outside of the palace. No scholarly research on the subject has been found in China up to now, not to mention comparative studies in both countries.
This study is presented in two separate parts: “A Study on the Painting of Birthday -Celebration of Guo Ziyi of China,” and “A Study on the Painting of Guo Fenyang’s Enjoyment -of -Life of Korea”. In the first part, it examines China’ s historical development of the Guo Ziyi-related subject in various art forms and literature. It also attempts an iconographical and stylistic classification of representative specimen. This also serves the purpose of comparison with the Korean counterparts. In the second part, it traces Korea’s historical context and development of Guo Ziyi-related subjects in art and literature. It then moves on to the screen paintings and reveals the extent of Korean transformation of the given subject by the end of 18th century in terms of pictorial intention and symbolic purpose, particularly apparent in architectural configuration and figurative presentation.
목차
논문소개
Ⅰ. 곽자의의 略傳
Ⅱ. 곽자의 관련 화제의 발전과 전개: 역사에서 신화로
Ⅲ. <곽자의축수도>의 종류와 형태
Ⅳ. <곽자의축수도> 칠병풍과 ‘코로멘델 칠병풍’
Ⅴ. <곽자의축수도> 병풍의 도상과 양식
Ⅵ. 맺는 말
참고문헌
ABSTRACT
참고문헌 (35)
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UCI(KEPA) : I410-ECN-0101-2013-650-001194886