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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.
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초록· 키워드
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This paper examines the origin and practice to produce royal embroidery paintings and calligraphic works during the nineteenth and early twentieth centuries. Since traditional royal embroidery works had been closely related to court maids who had a skill to stitch
on the fabric, this paper also deals with their various activities in creating embroidery art works in the palace.
In spite of many samples of royal paintings, embroidery works have been little survived to this day because of their long-time production and laborious demands. It makes hard to identify the dates, periodical stages, and technical characteristics concerning royal embroidery practices, however, Scroll of Embroidery Xi Wangmu(刺繡西王母圖) in 1699 is solely known to show that the embroidery painting for king"s appreciation was made in the seventeenth century, Joseon. As the type of folding screen became popular in late Joseon palaces, the hugely mounted 10~12-panel-screens of embroidery paintings and calligraphy were often produced until the early twentieth century. According to the records of Joseon state manuals, many screens of embroidery paintings and calligraphy were placed at a special realm for royal wedding ceremony or for official meeting with king, crown prince, and their subjects.
The court female artisans affiliated with the division for royal embroidery could create highly elaborate embroidery patterns on royal costume, hats, daily supplies, and even ceremonial screens, after completing hard training started from young age. During the Great Han Empire(大韓帝國) era, a lot of local embroidery works flowed to the royal palaces thanks to the growth of local embroidery artisan groups such as Anju district in Southern pyeong"an province. Court painters, Yang Gi-hun and Kim Gyu-jin donated to the palace such local embroidery paintings and calligraphy based on their original works. It caused local embroidery works became famous and spread throughout the country, but in other side, royal embroidery production has been gradually decreased and some court maids lived their life by selling their embroidery works after coming out from the palace.
In conclusion, the long tradition of royal embroidery screen paintings and calligraphy as well as the court female artisan group has faded back to the history during the early twentieth century of Joseon.
on the fabric, this paper also deals with their various activities in creating embroidery art works in the palace.
In spite of many samples of royal paintings, embroidery works have been little survived to this day because of their long-time production and laborious demands. It makes hard to identify the dates, periodical stages, and technical characteristics concerning royal embroidery practices, however, Scroll of Embroidery Xi Wangmu(刺繡西王母圖) in 1699 is solely known to show that the embroidery painting for king"s appreciation was made in the seventeenth century, Joseon. As the type of folding screen became popular in late Joseon palaces, the hugely mounted 10~12-panel-screens of embroidery paintings and calligraphy were often produced until the early twentieth century. According to the records of Joseon state manuals, many screens of embroidery paintings and calligraphy were placed at a special realm for royal wedding ceremony or for official meeting with king, crown prince, and their subjects.
The court female artisans affiliated with the division for royal embroidery could create highly elaborate embroidery patterns on royal costume, hats, daily supplies, and even ceremonial screens, after completing hard training started from young age. During the Great Han Empire(大韓帝國) era, a lot of local embroidery works flowed to the royal palaces thanks to the growth of local embroidery artisan groups such as Anju district in Southern pyeong"an province. Court painters, Yang Gi-hun and Kim Gyu-jin donated to the palace such local embroidery paintings and calligraphy based on their original works. It caused local embroidery works became famous and spread throughout the country, but in other side, royal embroidery production has been gradually decreased and some court maids lived their life by selling their embroidery works after coming out from the palace.
In conclusion, the long tradition of royal embroidery screen paintings and calligraphy as well as the court female artisan group has faded back to the history during the early twentieth century of Joseon.
목차
I. 머리말
II. 19세기 이전 궁중 자수서화병풍의 기원과 제작 시기
III. 19-20세기 초 침선 궁녀의 활동과 자수서화병풍의 제작
IV. 19-20세기 초 궁중 소용 자수서화병풍의 증가와 수급체계의 변화
V. 맺음말
참고문헌
Abstract
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