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.
초록· 키워드
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One notable aspect of China"s late Ming period is the relatively large number of portraits produced through collaboration among different artists. Such collaborative portraits are significant both in terms of technique and because of the relationships between the painters and the sitters.
Though examples of collaborative portraits dating from the Yuan dynasty also exist, the practice began in earnest in the 17th century. The sharp increase in production of collaboration in portrait painting at this time was due to the trend for portraits in the format of landscapes with human figures. While impersonal ancestor portraits, in which the sitter sat upright against an empty background, were used in ancestral rites, portraits in the format of landscapes with human figures were highly sentimental in character, making them popular among literati who aspired to retire to quiet rural spots away from everyday life. The large proportion of canvas occupied by landscape in the latter type of portrait was an important factor in promoting natural collaboration between landscape artists and portrait artists. Another factor that drove the increase in collaboration was the social context of the time, which saw the emergence of talented portrait artists such as Zeng Jing(曾鯨) and his students.
One important function of portrait collaboration in the 17th century was the increase it brought to the quality of works. In other words, works that combined the respective strengths of outstanding portrait painters and talented landscape artists attained new synergistic heights. In addition to the increase in the quality of works produced, an important aim of collaboration was the promotion of friendship between artists and sitters. Meanwhile, cases in which the identity of the portrait artist in collaborative paintings is not revealed suggest that the unnamed specialist portrait painters of the time held low status, as well as hinting at the possibility that the self-portraits of Xiang Shengmo(項聖謨) and Shi Tao(石濤) are not actually self-portraits.
Few Joseon collaborative portraits have been discovered; this is because landscape with human figure-style portraits, unlike in China, were not particularly popular in Joseon. The handful of examples of collaborative Joseon portraits effectively have little to do with those of China from the 17th century onwards, except for the fact that they were produced through collaborations between pairs of well-known artists. This is because while landscape with human figure-style portraits in China were produced through collaboration between specialist portrait painters and literatus landscape painters, the Joseon collaborative portraits that have been discovered are works by two court painters, both capable of painting portraits alone.
Though examples of collaborative portraits dating from the Yuan dynasty also exist, the practice began in earnest in the 17th century. The sharp increase in production of collaboration in portrait painting at this time was due to the trend for portraits in the format of landscapes with human figures. While impersonal ancestor portraits, in which the sitter sat upright against an empty background, were used in ancestral rites, portraits in the format of landscapes with human figures were highly sentimental in character, making them popular among literati who aspired to retire to quiet rural spots away from everyday life. The large proportion of canvas occupied by landscape in the latter type of portrait was an important factor in promoting natural collaboration between landscape artists and portrait artists. Another factor that drove the increase in collaboration was the social context of the time, which saw the emergence of talented portrait artists such as Zeng Jing(曾鯨) and his students.
One important function of portrait collaboration in the 17th century was the increase it brought to the quality of works. In other words, works that combined the respective strengths of outstanding portrait painters and talented landscape artists attained new synergistic heights. In addition to the increase in the quality of works produced, an important aim of collaboration was the promotion of friendship between artists and sitters. Meanwhile, cases in which the identity of the portrait artist in collaborative paintings is not revealed suggest that the unnamed specialist portrait painters of the time held low status, as well as hinting at the possibility that the self-portraits of Xiang Shengmo(項聖謨) and Shi Tao(石濤) are not actually self-portraits.
Few Joseon collaborative portraits have been discovered; this is because landscape with human figure-style portraits, unlike in China, were not particularly popular in Joseon. The handful of examples of collaborative Joseon portraits effectively have little to do with those of China from the 17th century onwards, except for the fact that they were produced through collaborations between pairs of well-known artists. This is because while landscape with human figure-style portraits in China were produced through collaboration between specialist portrait painters and literatus landscape painters, the Joseon collaborative portraits that have been discovered are works by two court painters, both capable of painting portraits alone.
목차
Ⅰ. 머리말
Ⅱ. 肖像畵 合作의 배경
Ⅲ. 肖像畵 合作의 양상
Ⅳ. 朝鮮時代의 肖像畵 合作 사례
Ⅴ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2016-650-001055444