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
- 발행연도
- 2003.12
- 수록면
- 181 - 219 (39page)
이용수
초록· 키워드
오류제보하기
Kim Jeong-hee (金正喜) was a leading painter of the nineteenth century, during the Chosun Dynasty (朝鮮). His unique calligraphy and ink orchid paintings are considered inventive even in view of its Chinese (Qing Dynasty: 淸) sources. Although his landscape painting is not as renowned as his calligraphy and orchid painting, it also served as a standard model for other painters to follow.
We can understand the characteristics of his landscape painting through the investigation of his Essay on Painting (畵論). His research into the treatises of the Qing scholars Weng Fanggang (翁方綱) and Ruan Yuan (阮元), in the Qing Bibliographical Study (考證學), influenced his concepts of representation. In this academic attitude, he expressed the theory by creating a concrete work.
His artistic views are the unifying theme as well of his Essay on Poetry (詩論) and Essay on Calligraphy-Painting (書畵論). He judges that poetry is derived from 'emotional sensibility (性靈)', but he believes that excessive exaltation of sensitivity and emotions will result in 'strangeness and deviation from universality (奇怪)', thus, advocates 'figuration (格調)' to guard against it. He applied this to his painting theory, as is exhibited in his 'orthodox style (古法)'. It is a literati painting style of Yuan (元), Ming (明), and early Qing (淸) Dynasty.
The influence-the desolate but noble atmosphere of Huang Gongwang (黃公望) and Ni Zan (倪瓚), and the linearity of the Four Wangs (四王) and Dong Qichang (董其昌) as followers of them-are evident in his work which apply both 'dry brushstroke-light ink (渴筆淡墨)' and 'accumulated ink (積墨)'.
In 1809 in Beijing (北京) he met painters such as Weng Fanggang and viewed many fine Chinese paintings. Particularly through his exchanges with Zhu Henian (朱鶴年) did he gamer knowledge of Beijing painting trends. It is after 1825 and <Reading gentlemen in cottage (書屋圖)> type of painting that he began exchanging works with Qing painters including Zhang Shen (張深). That served as a basis for his master piece <A Cottage Under Evergreen Tree (Sae Han Do, 歲寒圖)> during his period of exile to Cheju Island (濟州道). About the late period of exile, he borrowed the styles of Zhang Geng (張庚) to attain the painting styles of Huang Gongwang, and Ni Zan.
In Seoul, after his release from exile, during a period of positive critical assessment of painting work, he perfected his theory on painting. During this period he consulted the works of Dong Qichang, Wang Yuanqi (王原祁), and Shitao (石濤), and executed paintings in 'dry brushstroke-light ink' and 'accumulated ink' techniques, developing his own style through this process. In 1851 he was exiled to Buk Chuang (北靑), and was released the next year. Following this, he developed a devotion to Buddhism, and the concepts of phenomenon and mind as explored in that religion began to inform his landscape paintings in a conflation of Painting and Zen, that is to say hua-son ilchi (畵禪一致)'.
In conclusion, his paintings fall into the school of Huang Gongwang and Ni Zan, particularly in terms of their dry, desolate, but noble air. Ultimately, he developed his own and unique painting style as can be seen in the work <Sae Han Do> and attained the 'hua-son ilchi'. His style of painting was succeeded to the Chusa school (秋史派) of Chosun dynasty painters.
We can understand the characteristics of his landscape painting through the investigation of his Essay on Painting (畵論). His research into the treatises of the Qing scholars Weng Fanggang (翁方綱) and Ruan Yuan (阮元), in the Qing Bibliographical Study (考證學), influenced his concepts of representation. In this academic attitude, he expressed the theory by creating a concrete work.
His artistic views are the unifying theme as well of his Essay on Poetry (詩論) and Essay on Calligraphy-Painting (書畵論). He judges that poetry is derived from 'emotional sensibility (性靈)', but he believes that excessive exaltation of sensitivity and emotions will result in 'strangeness and deviation from universality (奇怪)', thus, advocates 'figuration (格調)' to guard against it. He applied this to his painting theory, as is exhibited in his 'orthodox style (古法)'. It is a literati painting style of Yuan (元), Ming (明), and early Qing (淸) Dynasty.
The influence-the desolate but noble atmosphere of Huang Gongwang (黃公望) and Ni Zan (倪瓚), and the linearity of the Four Wangs (四王) and Dong Qichang (董其昌) as followers of them-are evident in his work which apply both 'dry brushstroke-light ink (渴筆淡墨)' and 'accumulated ink (積墨)'.
In 1809 in Beijing (北京) he met painters such as Weng Fanggang and viewed many fine Chinese paintings. Particularly through his exchanges with Zhu Henian (朱鶴年) did he gamer knowledge of Beijing painting trends. It is after 1825 and <Reading gentlemen in cottage (書屋圖)> type of painting that he began exchanging works with Qing painters including Zhang Shen (張深). That served as a basis for his master piece <A Cottage Under Evergreen Tree (Sae Han Do, 歲寒圖)> during his period of exile to Cheju Island (濟州道). About the late period of exile, he borrowed the styles of Zhang Geng (張庚) to attain the painting styles of Huang Gongwang, and Ni Zan.
In Seoul, after his release from exile, during a period of positive critical assessment of painting work, he perfected his theory on painting. During this period he consulted the works of Dong Qichang, Wang Yuanqi (王原祁), and Shitao (石濤), and executed paintings in 'dry brushstroke-light ink' and 'accumulated ink' techniques, developing his own style through this process. In 1851 he was exiled to Buk Chuang (北靑), and was released the next year. Following this, he developed a devotion to Buddhism, and the concepts of phenomenon and mind as explored in that religion began to inform his landscape paintings in a conflation of Painting and Zen, that is to say hua-son ilchi (畵禪一致)'.
In conclusion, his paintings fall into the school of Huang Gongwang and Ni Zan, particularly in terms of their dry, desolate, but noble air. Ultimately, he developed his own and unique painting style as can be seen in the work <Sae Han Do> and attained the 'hua-son ilchi'. His style of painting was succeeded to the Chusa school (秋史派) of Chosun dynasty painters.
목차
Ⅰ. 머리말
Ⅱ. 燕京 화가들과의 교류와 기록상의 산수화
Ⅲ. 제주 유배시기
Ⅳ. 서울ㆍ과천 거주시기
Ⅴ. 맺음말
ABSTRACT
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
추사 김정희의 묵란화
미술사학
2005 .08
-
18-19세기 正統派 畵風을 통해 본 동아시아의 회화교류
미술사연구
2008 .12
-
康熙年間 王原祁의 〈西湖十景圖〉제작과 정치적 의미
미술사연구
2017 .12
-
추사 김정희의 實心的 佛學觀과 書畵美學의 相關性 연구
동양예술
2015 .01
-
王詵의 〈煙江疊嶂圖〉와 文人山水畵의 傳統
미술사학연구(구 고고미술)
2003 .09
-
운계 조중묵(雲溪 趙重默, 1820 ~ ?)의 산수화 연구
미술사와 문화유산
2017 .11
-
秋史 金正喜의 學書方法論에 대한 考察
서예학연구
2018 .01
-
董其昌과 서양기하학
미술사학연구(구 고고미술)
2007 .12
-
不染齋 金喜誠의 山水畵 硏究
미술사학연구(구 고고미술)
2008 .06
-
之又齋 鄭遂榮의 山水畵 연구
미술사학연구(구 고고미술)
2002 .09
-
鄭敾의 ‘倣古參今’ : 조선 후기 倣古 산수화와 實景 산수화의 相補性
미술사학연구(구 고고미술)
2008 .03
-
謙齋 鄭敾(1676-1759)의 瀟湘八景圖
미술사논단
2005 .06
-
추사 서예미학의 易理的 사유와 체현
서예학연구
2020 .01
-
18세기 朝鮮 文人들의 繪畵蒐集活動과 畵壇
미술사학연구(구 고고미술)
2002 .06
-
‘문자향’ ‘서권기’, 그 함의와 형상화 문제
미술사학연구(구 고고미술)
2003 .03
-
Debating Wang Meng’s (1308-1385) Undated Handscroll: The Continuous Dialogue between Images and Texts in China
미술사학연구(구 고고미술)
2020 .03
-
雲楣 閔泳翊(1860-1914)의 生涯와 繪畵 硏究
미술사학
2005 .08
-
제주유배문화를 활용한 텍스타일 디자인 - 추사 김정희 전각의 조형적 특성을 중심으로 -
한국디자인포럼
2012 .01
-
백련 지운영(1852-1935)의 회화세계 연구
한국근현대미술사학
2010 .12
-
謙齋 鄭敾의 寫意山水畵 연구 : 詩意圖를 중심으로
미술사학
2017 .08
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-609-014719220