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This paper focused on life and Noando(蘆雁圖) of Seokeon(石然) Yang Gi-hun(楊基薰, 1843-1911) who had worked in the late 19th and early 20th century.
Yang Gi-hun was not just a court painter, but he was an actually occupational painter of noble birth from generation to generation in Pyongyang. He was also recommended to a position late in life at 49, and he started his career as a low-ranking government official. In 1905, he was promoted to Jeong-3-poom(正三品), however, he focused on paintings in several areas like Pyongyang, Seoul and Japan.
Meanwhile, he was known to paint 《The Album leaf of The United States(美國風俗畵帖)》 after following Min Yeong-ik(閔泳翊, 1860-1914) to the US in 1883. But this should be considered again because it doesn’t match with his youngest son Yang Yu-jin(楊瑜鎭, 1884-?)’s birth time.
Yang Gi-hun presented works with Sinjagwan(臣字款) to court as a local painter exceptionally. This Sinjagwan painting reflected the change of court paintings form of production. Thus, as a local artist, his special backgrounds and his works to a superior had important roles to represent for changed aspect of the age. Yang Gi-hun had finished short life in Seoul for 4 years and he moved to Japan in 1908. But he returned to Korea because of an injury in 1909 and Before long, died in 1911.
The most famous of Yang Gi-hun’s paintings is NoAndo. He created his own form in detailed expression of paintings in Joseon Dynasty traditional style. His style is different from Jang Seung-eop(張承業, 18431897) and Seoul Painting Circles’s painters. His Noando was produced in various ways. Especially embroidery Noando based on his original works was connected with the growth of local embroidery artisan groups such as Anju district in Southern pyeong"an province.
Yang Gi-hun’s Noando exerted influence on following generations of painters in Pyongyang. Yang young-jin(楊英鎭, 1881-1918), Kim Yun-Bo(金允輔, 1865-1938) and Moon Hwa-Sun(文化善) were representative painters influenced him. They also passed Yang Gi-hun’s style down to Women Gisaeng(妓生) Artists, Joo San-woll(朱山月, 1894-1982) and Ham In-sook(咸仁淑). It shows genealogy of Pyongyang painting circles in the Modern Era.
Through his activities and artworks, we could examine on painters aspect and new tendency. And also I hope this paper is of some help to understand local artists’ way of existence in late 19th century.
Yang Gi-hun was not just a court painter, but he was an actually occupational painter of noble birth from generation to generation in Pyongyang. He was also recommended to a position late in life at 49, and he started his career as a low-ranking government official. In 1905, he was promoted to Jeong-3-poom(正三品), however, he focused on paintings in several areas like Pyongyang, Seoul and Japan.
Meanwhile, he was known to paint 《The Album leaf of The United States(美國風俗畵帖)》 after following Min Yeong-ik(閔泳翊, 1860-1914) to the US in 1883. But this should be considered again because it doesn’t match with his youngest son Yang Yu-jin(楊瑜鎭, 1884-?)’s birth time.
Yang Gi-hun presented works with Sinjagwan(臣字款) to court as a local painter exceptionally. This Sinjagwan painting reflected the change of court paintings form of production. Thus, as a local artist, his special backgrounds and his works to a superior had important roles to represent for changed aspect of the age. Yang Gi-hun had finished short life in Seoul for 4 years and he moved to Japan in 1908. But he returned to Korea because of an injury in 1909 and Before long, died in 1911.
The most famous of Yang Gi-hun’s paintings is NoAndo. He created his own form in detailed expression of paintings in Joseon Dynasty traditional style. His style is different from Jang Seung-eop(張承業, 18431897) and Seoul Painting Circles’s painters. His Noando was produced in various ways. Especially embroidery Noando based on his original works was connected with the growth of local embroidery artisan groups such as Anju district in Southern pyeong"an province.
Yang Gi-hun’s Noando exerted influence on following generations of painters in Pyongyang. Yang young-jin(楊英鎭, 1881-1918), Kim Yun-Bo(金允輔, 1865-1938) and Moon Hwa-Sun(文化善) were representative painters influenced him. They also passed Yang Gi-hun’s style down to Women Gisaeng(妓生) Artists, Joo San-woll(朱山月, 1894-1982) and Ham In-sook(咸仁淑). It shows genealogy of Pyongyang painting circles in the Modern Era.
Through his activities and artworks, we could examine on painters aspect and new tendency. And also I hope this paper is of some help to understand local artists’ way of existence in late 19th century.
목차
I. 머리말
Ⅱ. 생애와 회화활동
Ⅲ. 양기훈 노안도의 특징
Ⅳ. 양기훈과 후대 평양화단
Ⅴ. 맺음말
참고문헌
Abstract
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