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초록· 키워드
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The Shanghai-issued painting manuals from the late 1870’s to 1890’s has a major difference from the other Chinese painting manuals which were made earlier. As the Haipa (海派) artists’ paintings were very expensive to purchase, the public in Shanghai could not purchase their works. Since lithographic printing was introduced in Shanghai in 1876, various painting manuals included works by Haipa artists were massively produced.
The painting manuals published in Shanghi could be categorized three denominations. The first is Renzhai Huasheng (?齋畵?), Yuxiu Tang Huazhuan (毓秀堂畵傳), Shu Zhong Hua (詩中畵), Ren Weichang Xiansheng Huazhuan Sizhong (任渭長先生畵傳 四種傳), Haishang Mingren Huagao (海上名人畵稿), Huapu Caixin (畵譜采新), Xihu Shiba Jing Tu (西湖 十八景圖) which were composed of Haipa artists’ paintings. Second, Dianshi Zhai Conghua (點石齋叢 畵) and Gujin Mingren Huagao (古今名人畵稿) that were composed of traditional and Haipa artists’ works. The last are the re-published Shi Hua Fang (詩畵舫), Lidai Minggong Huapu (歷代名公畵譜), Wanxiao Tang Huazhuan (晩笑堂畵傳), Honglou Meng Tuyong (紅樓夢圖詠), Jiezi Yuan Huazhuan (芥子園畵 傳), and so forth.
The fact that various painting manuals have been spread to Korea could be indirectly proved such as Sanghae seojang gakjong seojeok docheop seomok (上海書莊各種書籍圖帖書目 many Shanghi’s bookstore catalogs) and Jipokjae Seojeok Moklok (集玉齋書籍目 錄 books kept at Jipokjae (集玉齋), which is Emperor Gojong(高宗)’s book lab). Furthermore, the works of Chang Seungup (張承業), Cho Seokjin (趙錫晋), An Choongsik (安中植) and Ji Unyeong (池雲英) have confirmed directly the introduction of Shanghai-issued painting manuals. By analysing their works, we could find out that the Korean artists copied landscapes and figure paintings in the painting manuals, composed of Haipa artists’ paintings. This means that Korean artists were interested in Shanghai School which was a mainstream on flowers and birds and figure paintings, but they also independently chosen and utilized on the basis of Korea’s art-trend and sense of beauty.
The painting manuals published in Shanghi could be categorized three denominations. The first is Renzhai Huasheng (?齋畵?), Yuxiu Tang Huazhuan (毓秀堂畵傳), Shu Zhong Hua (詩中畵), Ren Weichang Xiansheng Huazhuan Sizhong (任渭長先生畵傳 四種傳), Haishang Mingren Huagao (海上名人畵稿), Huapu Caixin (畵譜采新), Xihu Shiba Jing Tu (西湖 十八景圖) which were composed of Haipa artists’ paintings. Second, Dianshi Zhai Conghua (點石齋叢 畵) and Gujin Mingren Huagao (古今名人畵稿) that were composed of traditional and Haipa artists’ works. The last are the re-published Shi Hua Fang (詩畵舫), Lidai Minggong Huapu (歷代名公畵譜), Wanxiao Tang Huazhuan (晩笑堂畵傳), Honglou Meng Tuyong (紅樓夢圖詠), Jiezi Yuan Huazhuan (芥子園畵 傳), and so forth.
The fact that various painting manuals have been spread to Korea could be indirectly proved such as Sanghae seojang gakjong seojeok docheop seomok (上海書莊各種書籍圖帖書目 many Shanghi’s bookstore catalogs) and Jipokjae Seojeok Moklok (集玉齋書籍目 錄 books kept at Jipokjae (集玉齋), which is Emperor Gojong(高宗)’s book lab). Furthermore, the works of Chang Seungup (張承業), Cho Seokjin (趙錫晋), An Choongsik (安中植) and Ji Unyeong (池雲英) have confirmed directly the introduction of Shanghai-issued painting manuals. By analysing their works, we could find out that the Korean artists copied landscapes and figure paintings in the painting manuals, composed of Haipa artists’ paintings. This means that Korean artists were interested in Shanghai School which was a mainstream on flowers and birds and figure paintings, but they also independently chosen and utilized on the basis of Korea’s art-trend and sense of beauty.
목차
Ⅰ. 머리말
Ⅱ. 19세기 후반 上海 출판계의 동향
Ⅲ. 19세기 후반 上海에서 발간된 畵譜의 종류
Ⅳ. 19세기 후반 韓國 화단에 수용된 화보
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (37)
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UCI(KEPA) : I410-ECN-0101-2014-600-000632454