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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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This paper examines trends in the production of 38 chuksuhwa(祝壽畵, paintings commemorating longevity) works, comprising a total of 64 images, produced by Korean artists during the country’s modern period, and of which the production background is known. Around three quarters of these works are known to have been painted to mark 60th birthdays, highly auspicious occasions in Korean tradition, known as hoegap. This tells us that hoegap provided a key reason for producing chuksuhwa and were of great symbolic significance at the time. A considerable number of modern period chuksuhwa were thus focused on celebrating hoegap, a tradition with roots in the late Joseon period that continued and gathered pace with the advent of modernity.
Two key motivations for the production of modern period chuksuhwa can be identified; exchange among calligrapher-painters and market-driven demand for calligraphy-paintings. Changes that affected all artists in the country, such as the search for new ways to make a living amid rapid political, social and cultural transformation, and the expanding market for calligraphy-paintings, also influenced the production of chuksuhwa. In the context of these changes, modern calligrapher-painters felt strong mutual connections and engaged in active exchange; this also led to the production of chuksuhwa as gifts to fellow artists. Meanwhile, rising demand spurred by the growth of the calligraphy-painting market is known to have been accompanied by a large number of chuksuhwa commissions. Chuksuhwa show differences according to these various reasons for their production.
Meanwhile, modern period chuksuhwa were painted on a variety of themes and motifs, including sansu(landscape), hwajo yeongmo(flowers, birds and animals) and hwahwe(flowers). Some of these themes were particularly popular and featured repeatedly in paintings; these can broadly be divided into themes popular in the late Joseon period and those that became newly popular in the modernization era. The star Canopus, known in Korean as Shouxing(壽星, Star of Old Age) and believed to control longevity, was generally personified and depicted in the form of an old man. This popular literary motif, symbolizing a prayer for longevity, appeared in many paintings. Shouxing was painted several times in the Joseon period, with some late Joseon examples known to have been used to celebrate the longevity of those reaching their hoegap. In the modern period, in particular, a specific form of iconography was established and painted frequently by Jo Seokjin(趙錫晉, 1853~1920). In addition to this, pictures on the themes of Tianbaojiuru(天保九如, a literary phrase used to congratulate longevity), Mt. Penglai(蓬萊山), pine trees and cranes, and deer and arborvitae trees found new popularity as chuksuhwa. Tianbaojiuru and Mt. Penglai paintings became established as a fixed theme of landscape-type modern chuksuhwa; the role of An Jung-sik(安中植, 1861~1919) in this development is notable. An took these two themes, largely ignored by Korean artists before the advent of modernity, and used them to develop his own unique style of landscape painting. Pine and crane, and deer and arborvitae, paintings were each produced in respective pairs, while symbolism of longevity featured prominently among various hwajo yeongmo paintings, which were a favorite motif of chuksuhwa. Also noteworthy is the frequent appearance in these paintings of fourcharacter phrases describing the motif.
Chuksuhwa have until now generally been regarded as one of the types of auspicious painting produced by Korean artists during the modern period; their production has largely been attributed to a basic desire for improved fortune amid the social upheaval and chaos of the late Joseon and Japanese colonial periods. This study, however, examines them in more detail, revealing specific reasons for and trends in their production and consumption: they were produced not simply to invite good fortune but to celebrate birthdays, particularly the landmark hoegap.
Two key motivations for the production of modern period chuksuhwa can be identified; exchange among calligrapher-painters and market-driven demand for calligraphy-paintings. Changes that affected all artists in the country, such as the search for new ways to make a living amid rapid political, social and cultural transformation, and the expanding market for calligraphy-paintings, also influenced the production of chuksuhwa. In the context of these changes, modern calligrapher-painters felt strong mutual connections and engaged in active exchange; this also led to the production of chuksuhwa as gifts to fellow artists. Meanwhile, rising demand spurred by the growth of the calligraphy-painting market is known to have been accompanied by a large number of chuksuhwa commissions. Chuksuhwa show differences according to these various reasons for their production.
Meanwhile, modern period chuksuhwa were painted on a variety of themes and motifs, including sansu(landscape), hwajo yeongmo(flowers, birds and animals) and hwahwe(flowers). Some of these themes were particularly popular and featured repeatedly in paintings; these can broadly be divided into themes popular in the late Joseon period and those that became newly popular in the modernization era. The star Canopus, known in Korean as Shouxing(壽星, Star of Old Age) and believed to control longevity, was generally personified and depicted in the form of an old man. This popular literary motif, symbolizing a prayer for longevity, appeared in many paintings. Shouxing was painted several times in the Joseon period, with some late Joseon examples known to have been used to celebrate the longevity of those reaching their hoegap. In the modern period, in particular, a specific form of iconography was established and painted frequently by Jo Seokjin(趙錫晉, 1853~1920). In addition to this, pictures on the themes of Tianbaojiuru(天保九如, a literary phrase used to congratulate longevity), Mt. Penglai(蓬萊山), pine trees and cranes, and deer and arborvitae trees found new popularity as chuksuhwa. Tianbaojiuru and Mt. Penglai paintings became established as a fixed theme of landscape-type modern chuksuhwa; the role of An Jung-sik(安中植, 1861~1919) in this development is notable. An took these two themes, largely ignored by Korean artists before the advent of modernity, and used them to develop his own unique style of landscape painting. Pine and crane, and deer and arborvitae, paintings were each produced in respective pairs, while symbolism of longevity featured prominently among various hwajo yeongmo paintings, which were a favorite motif of chuksuhwa. Also noteworthy is the frequent appearance in these paintings of fourcharacter phrases describing the motif.
Chuksuhwa have until now generally been regarded as one of the types of auspicious painting produced by Korean artists during the modern period; their production has largely been attributed to a basic desire for improved fortune amid the social upheaval and chaos of the late Joseon and Japanese colonial periods. This study, however, examines them in more detail, revealing specific reasons for and trends in their production and consumption: they were produced not simply to invite good fortune but to celebrate birthdays, particularly the landmark hoegap.
목차
Ⅰ. 머리말
Ⅱ. 回甲 축하 문화의 성행과 축수화 제작
Ⅲ. 제작 동기에 따른 축수화의 제작 방식
Ⅳ. 특정 주제의 선호 경향
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (34)
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UCI(KEPA) : I410-ECN-0101-2017-609-000841363