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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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Yi Ha-?ng, sobriquet S?kp'a, was the father of King Kojong(r. 1863-1907), the 26th ruler of the Chos?n dynasty, and was titled the H?ngs?n Taew?n'gun(興宣大院君) generally called Taew?n'gun.
Yi was a radical politician who attempted to reform the national system with the "Chos?n style" manner in the late Chos?n period. On the other side, he was an artist developing his individual orchid paintings based on Kim Ch?ng-h?i's(金正喜, 1786-1856) painting style. Because of his political aspiration, he went back and forth between dominance and relinquishment of power. However, he greatly concentrated on creating substantial and lofty orchid paintings as a means to express his complicated emotion whenever he was in hard times. As a result, he achieved the dignified literati painting accompanying with poems and calligraphy(shis?hwa ilch'i, 詩書畵一致) as well as his individual manner in depicting ink orchids.
When he was expelled from the throne and was dwelling at Chikgok sanbang(直谷山房, Studio of Chikgok), he created three types of ink orchid paintings: the grouping of uprooted orchids with long leaves(群蘭圖), the coupling of orchid and rock(石蘭圖) with a setting, and the densely grouping of orchids(叢蘭圖) generally mounted as a hanging scroll. This asserts that his such individual modes were formed on the basis of Kim Ch?ng- h?i's ink brush method that later became the typical style of "S?kp'aran(石坡蘭)". Among his individual modes he had developed, the painting of coupling orchids and rocks to the main and constant theme until his late years.
The most tough hours in his life were the three years when Army's Uprising was broken out in 1882 named Yimo gunran(壬午軍亂). He was arrested by the Ch'ing army because of his relationship with the rebel forces and moved to Poj?ng-pu(保定府) in Tian Jin(天津), China. Despite his mental instability and illness he continued painting orchids. Moreover, in his early sojourn in Poj?ng-pu, he covered various brushworks in several panels of a screen that he had tried at Studio of Chikgok. But hereafter, he painted only orchid and rock paintings.
Yi portrayed such orchids and rocks even after he came back from China, and finally they became the outstanding subject matters when he was old. They are characterized by long and stretching leaves, and vivid description of orchid flowers. All appeals idealized orchid paintings in expression of spirituality and beauty.
Yi was a radical politician who attempted to reform the national system with the "Chos?n style" manner in the late Chos?n period. On the other side, he was an artist developing his individual orchid paintings based on Kim Ch?ng-h?i's(金正喜, 1786-1856) painting style. Because of his political aspiration, he went back and forth between dominance and relinquishment of power. However, he greatly concentrated on creating substantial and lofty orchid paintings as a means to express his complicated emotion whenever he was in hard times. As a result, he achieved the dignified literati painting accompanying with poems and calligraphy(shis?hwa ilch'i, 詩書畵一致) as well as his individual manner in depicting ink orchids.
When he was expelled from the throne and was dwelling at Chikgok sanbang(直谷山房, Studio of Chikgok), he created three types of ink orchid paintings: the grouping of uprooted orchids with long leaves(群蘭圖), the coupling of orchid and rock(石蘭圖) with a setting, and the densely grouping of orchids(叢蘭圖) generally mounted as a hanging scroll. This asserts that his such individual modes were formed on the basis of Kim Ch?ng- h?i's ink brush method that later became the typical style of "S?kp'aran(石坡蘭)". Among his individual modes he had developed, the painting of coupling orchids and rocks to the main and constant theme until his late years.
The most tough hours in his life were the three years when Army's Uprising was broken out in 1882 named Yimo gunran(壬午軍亂). He was arrested by the Ch'ing army because of his relationship with the rebel forces and moved to Poj?ng-pu(保定府) in Tian Jin(天津), China. Despite his mental instability and illness he continued painting orchids. Moreover, in his early sojourn in Poj?ng-pu, he covered various brushworks in several panels of a screen that he had tried at Studio of Chikgok. But hereafter, he painted only orchid and rock paintings.
Yi portrayed such orchids and rocks even after he came back from China, and finally they became the outstanding subject matters when he was old. They are characterized by long and stretching leaves, and vivid description of orchid flowers. All appeals idealized orchid paintings in expression of spirituality and beauty.
목차
Ⅰ. 머리말
Ⅱ. 李昰應의 被拉과 문헌자료
Ⅲ. 保定府 時節 李昰應의 墨蘭畵
Ⅳ. 맺음말
[부록] : 『大院君天津往還日記』에 수록된 李昰應의 自作詩 17首
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UCI(KEPA) : I410-ECN-0101-2010-151-001731052