조선 중기 회화관 연구:   절파 山水畵와 詩書合一의 관계를 중심으로

정혜린

추천

검색

자료유형: 학술저널

저자정보: 정혜린

저널정보: 서울대학교 인문학연구원 인문논총 인문논총 제62호

발행연도: 2009.1

수록면: 169 - 202 (34page)

이용수

📌

연구주제

📖

연구배경

🔬

연구방법

🏆

연구결과

초록· 키워드

오류제보하기

The research on paintings in mid-Chosun has crucial troubles in that the painting works remain rare and the writings on them also are mainly poetry just appreciating the landscapes not often mentioning the stuff on canvas even less analytical. However the naive writings point the criteria of appreciation and their ultimate values in those days through their lyric forms. This paper reveals the landscape style in mid-Chosun was influenced by high Tang style poetry especially of serene and lyric prevalent in those days in Chosun from its start. Poetry of those days encouraged painters to show the similarities between paintings and poetry ; composition of clear and fine near scene with person and vague or blurry distant scene, and its fresh unsecular mood. Even the poets out of the style above, intense or narrative, always depicted the paintings as of serene and lyric. With these characteristics of records on the paintings, it is doubtful on what point or how much the landscape style in mid-Chosun is that of Zhe school in Ming dynasty almost unquestioned until now. Zhe school paintings dealt the secular literati enjoying lifes in cities as well as the those in the depths of a mountain, whose faces were also secular in many case. It seems clear that the extents of landscape subject of mid Chosun and Zhe school are different and the former imported just a part of the latter. Parallel to the situation on subject of the paintings it is hardly to say that the form of the paintings is that of Zhe school. There only remain records written in mid Chosun on several names of court painters of Ming dynasty nor of Zhe neither of Wu school. That means the appreciators of Chosun were not enough to discriminate the three styles in Ming dynasty or Zhe school were passed to Chosun its rough and secular vigor diminished blending with court painting style. It is not odd why Kim, Myung-Kuk, a court painter in mid-Chosun, renowned as influenced from wild and heterodox school and as famous today, was never praised at least in the records written in mid Chosun. This investigation on records tells that the paintings in mid-Chosun were far literary and unworldly than those of Zhe school.

The research on paintings in mid-Chosun has crucial troubles in that the painting works remain rare and the writings on them also are mainly poetry just appreciating the landscapes not often mentioning the stuff on canvas even less analytical. However the naive writings point the criteria of appreciation and their ultimate values in those days through their lyric forms. This paper reveals the landscape style in mid-Chosun was influenced by high Tang style poetry especially of serene and lyric prevalent in those days in Chosun from its start. Poetry of those days encouraged painters to show the similarities between paintings and poetry ; composition of clear and fine near scene with person and vague or blurry distant scene, and its fresh unsecular mood. Even the poets out of the style above, intense or narrative, always depicted the paintings as of serene and lyric. With these characteristics of records on the paintings, it is doubtful on what point or how much the landscape style in mid-Chosun is that of Zhe school in Ming dynasty almost unquestioned until now. Zhe school paintings dealt the secular literati enjoying lifes in cities as well as the those in the depths of a mountain, whose faces were also secular in many case. It seems clear that the extents of landscape subject of mid Chosun and Zhe school are different and the former imported just a part of the latter. Parallel to the situation on subject of the paintings it is hardly to say that the form of the paintings is that of Zhe school. There only remain records written in mid Chosun on several names of court painters of Ming dynasty nor of Zhe neither of Wu school. That means the appreciators of Chosun were not enough to discriminate the three styles in Ming dynasty or Zhe school were passed to Chosun its rough and secular vigor diminished blending with court painting style. It is not odd why Kim, Myung-Kuk, a court painter in mid-Chosun, renowned as influenced from wild and heterodox school and as famous today, was never praised at least in the records written in mid Chosun. This investigation on records tells that the paintings in mid-Chosun were far literary and unworldly than those of Zhe school.

#mid-Chosun #high Tang style poetry #court painters #Wu school #Ming dynasty #unity of painting and poetry

참고문헌 (58)

참고문헌 신청

/ / 任叔英, 疏菴先生集(한국문집총간 83)

/ / 嚴嵩, 御定歷代題?詩類(續修四庫全書本)

/ / 姜紹, 無聲詩史(續修四部叢刊本)

/ / 孫岳頒等編, 佩文齋書?譜(續修四庫全書本)

/ / 孫鑛, 書?跋跋(續修四庫全書本)

함께 읽어보면 좋을 논문

논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!

이 논문의 저자 정보

정혜린

소속기관 서울대학교 인문학연구원

주요연구분야 인문학 > 인문학 일반

논문수 2 이용수 41

최근 본 자료

전체보기

구분	그룹	데이터 항목
AI 학습용 데이터	원문	원문 PDF 파일
AI 학습용 데이터	원문 + 메타 (기본/상세)	원문 PDF 파일 및 서지정보 CSV
대량 구매용 데이터	B2B 구독 방식	특정 자료 한정으로 원문 접근 권한 부여
대량 구매용 데이터	URL 전달 방식	바로 PDF 뷰어를 열람할 수 있는 URL 제공

구분	그룹	데이터 항목
AI 학습용 데이터	기본 메타	발행기관명, 간행물명, 권호명, 권(vol), 호(issue), 통권, 발행연도, 발행월, 논문명, 저자명, 시작페이지, 종료페이지, 전체페이지, 상세페이지URL
상세 메타 데이터	발행기관 메타	발행기관 이명, 영문명, 창립연도, 홈페이지URL, 발행기관 소개
	간행물 메타	부제목, 간행물 유형, ISSN, ISBN, 최초발행연도, 폐간연도, 간행빈도, 발행주기, 등재사항, 이용수, 피인용수, 권호수, 논문수, 표지이미지
	논문 메타	작성 언어, 부제목, 대등제목, 목차, 키워드, 초록, 이미지, 참고문헌, 이용수, 피인용수, 논문활용도, DBpia통합주제분류, KDC분류, DDC분류, 한국연구재단분류, UCI, DOI
	저자 메타	소속기관, 소속부서, 직급, 연구분야, 연구키워드, 이용수, 피인용수, 저자 논문활용도

구분	그룹	데이터 항목
※ 결합형/맞춤형 메타 데이터는 신청 내용에 따라 다양하게 제공 가능
이용순위 정보	주제분야별 많이 이용된 논문	“인문학”에서 많이 이용된 논문 TOP100
	이용기관별 많이 이용된 논문	“중고등학교”에서 많이 이용된 논문 TOP100
	세부기관별 많이 이용된 논문	“서울대학교”에서 많이 이용된 논문 TOP100
	키워드별 많이 이용된 논문	“Chat GPT”에서 많이 이용된 논문 TOP100
키워드 정보	많이 이용된 키워드	특정기간/분야/저널 내 많이 이용된 키워드
	많이 발행된 키워드	특정기간/분야/저널 내 많이 발행된 키워드
	많이 검색된 키워드	특정기간/분야/저널 내 많이 검색된 키워드
	연구 트렌드 키워드	특정 키워드 연관 연구동향 분석 데이터 키워드

논문 기본 정보

초록· 키워드

AI 요약

연구주제

연구배경

연구방법

연구결과

주요내용

목차

참고문헌 (58)

함께 읽어보면 좋을 논문

이 논문의 저자 정보

최근 본 자료

댓글(0)