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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 第41號
- 발행연도
- 2015.12
- 수록면
- 167 - 190 (24page)
- DOI
- 10.14380/AHF.2015.41.167
이용수
초록· 키워드
오류제보하기
Yi Uiyang(1768-?), a painter who accompanied Sinmi(1811)-Tongsinsa, painted landscape paintings in imitation of a painting by Tani Bunchō(1763-1840). And he stated that fact on his signature. Landscape Painting (Busan Museum) is assumed to be painted in 1811. This painting shows a typical style of Southern School, only using ink on a Japanese-made paper. From the late 18th century, Joseon intellectuals’ perception of Japan became relatively amicable. Influenced by this transition, Tongsinsa attendants in 1811 were able to emphasize with Bunchō’s paintings. This work should be a result of these particular circumstances. Moreover, Bunchō’s Gagakusai zukō (dated around 1812, Tahara Municipal Museum, Japan) is in the spotlight. Because there is a sketch which seems to be the original version of Landscape Painting.
7 years later in 1818, Yi Uiyang painted Summer Landscape (Sen-oku Hakuko Kan, Japan), which is very similar to Landscape Painting. The inscription was written by Kim Jeonghui, who had Bunchō’s paintings in his collection due to his close social relationship with Tongsinsa attendants in 1811. In the same year, Jin Dongik, who left the inscription on Landscape Painting, was sent to Tsushima domain as Munwihaeng. It should be related to the introduction of Summer Landscape to Japan. In 1825, this work was gifted to the Sumitomo family by Kojima Uzaemon, an officer of Tsushima domain. This can examine aspects of Korea-Japan exchanges of painting and roles of Tsushima domain after severance of Tongsinsa in the early 19th century.
At the beginning of 19th century, the end of early modern Korea-Japan relations, Yi Uiyang painted landscape paintings in the style of a contemporary Japanese painter, Tani Bunchō. This fact is a good example to prove changes of Joseon intellectuals’ perception of Japan from the late 18th century to the early 19th century. Therefore, Yi Uiyang’s Landscape Paintings in Imitation of a Painting by Tani Bunchō can be considered a landmark case throughout history of Korea-Japan relations mediated by painting.
7 years later in 1818, Yi Uiyang painted Summer Landscape (Sen-oku Hakuko Kan, Japan), which is very similar to Landscape Painting. The inscription was written by Kim Jeonghui, who had Bunchō’s paintings in his collection due to his close social relationship with Tongsinsa attendants in 1811. In the same year, Jin Dongik, who left the inscription on Landscape Painting, was sent to Tsushima domain as Munwihaeng. It should be related to the introduction of Summer Landscape to Japan. In 1825, this work was gifted to the Sumitomo family by Kojima Uzaemon, an officer of Tsushima domain. This can examine aspects of Korea-Japan exchanges of painting and roles of Tsushima domain after severance of Tongsinsa in the early 19th century.
At the beginning of 19th century, the end of early modern Korea-Japan relations, Yi Uiyang painted landscape paintings in the style of a contemporary Japanese painter, Tani Bunchō. This fact is a good example to prove changes of Joseon intellectuals’ perception of Japan from the late 18th century to the early 19th century. Therefore, Yi Uiyang’s Landscape Paintings in Imitation of a Painting by Tani Bunchō can be considered a landmark case throughout history of Korea-Japan relations mediated by painting.
목차
I. 들어가며
Ⅱ. 부산박본과 센오쿠(泉屋)본의 개요
Ⅲ. 신미(1811) 통신사와 부산박본의 제작
Ⅳ. 센오쿠본의 일본 전래와 19세기 전반의 한일 회화 관계
Ⅴ. 나오며
참고문헌
ABSTRACT
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
근대 유럽에서 풍경화의 발흥과 진화
미술사논단
2022 .12
-
7-8세기 山水畵 표현법의 발전 및 分化와 水墨 인식의 기초 －敦煌壁畵를 중심으로－
미술문화연구
2022 .04
-
조선 辛未通信使行의 東萊府 印床 고찰
미술사연구
2018 .12
-
1980년대 한국화의 `산수`
한국예술연구
2015 .06
-
芬青山水陶器芬
한국기초조형학회 작품집
2024 .07
-
고려 중기의 북송과의 회화 교류
미술사논단
2019 .12
-
18, 19세기의 한일 회화교류와 대마도 및 동래 왜관 관련 신 자료의 미술사적 분석 : 조선 후기 대일교역용 회화에 대한 기존 논의의 보완을 위한 소론
미술사논단
2018 .12
-
일제강점기 이상범의 신문 휘호 작품 연구
한국근현대미술사학
2022 .12
-
죽화(竹畵)의 유형과 분류체제의 정립을 위한 시론
미술사논단
2018 .12
-
조선 후기 왜물의 유입과 인식 : 『通信使謄錄』을 중심으로
미술사연구
2016 .12
-
고려 초기 회화의 조명
미술사논단
2019 .06
-
조선 후기 남종화풍 문인산수화의 모방과 창작 : 화보의 분류 체계와 그 수용
미술사논단
2016 .06
-
화문과 화제의 분류체제
미술사논단
2018 .06
-
<설씨부인권선문(薛氏夫人勸善文)>의 조성 배경 고찰
서예학연구
2022 .09
-
한국 개화기의 ‘풍경화’ 유입
미술사논단
2021 .06
-
Chinese Ancient Painting of Architecture and Its Traditional Environmental Aesthetic Conception
한국기초조형학회 학술발표논문집
2019 .11
-
고려 말기 인물화의 제 양상 (1)
미술사논단
2020 .12
-
唐代 韓休墓 벽화의 산수도
미술사학연구(구 고고미술)
2018 .06
-
고려 후기 강남경 산수화의 대두와 이곽파화풍의 전개
미술사논단
2020 .06
-
근대미술의 선구자 고희동의 회화세계 연구 서양화 - 요소를 절충한 한국화를 중심으로
기초조형학연구
2017 .02
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2016-650-002430725