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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2019.12
- 수록면
- 247 - 267 (21page)
- DOI
- 10.46834/jkmcah.2019.12.38.247
이용수
초록· 키워드
오류제보하기
This paper examines ‘Pair of Phoenixes with Nine Chicks’, which portrays a phoenix couple with their nine chicks. Pair of Phoenixes with Nine Chicks was actively drawn during 19th century and early 20th century, which was the turning point of modern ages, and was loved by people of various social classes. Accordingly, this paper examines the painting’s characteristics and symbolism by looking into the phases of the times when the painting was actively drawn, and by compiling and analyzing existing pieces.
Phoenix is one the four auspicious beasts, and is an imaginary bird that appears in times of good fortune. In Dongjin, during Mokje’s ruling, a pair of Phoenixes appeared in Fengcheng with their nine chicks. This was considered a lucky omen, and was drawn into a painting. This painting was originally enjoyed as decorative painting in royal courts, but after the 19th century, the painting became popular among the public, and was recognized as a chosunistic style painting. Harmonious family was one of the most important values of the time, and the depiction of phoenixes with their chicks was liken to such value. That would have been the reason why the painting was popular among the public as decorative painting that shows lucky omen.
In the Pair of Phoenixes with Nine Chicks, the upper part shows the sun and an empress tree, the bottom part shows an oddly shaped stone with phoenixes stepping on it, and the middle part shows the phoenixes and the chicks. Depending on the piece, the number and composition of phoenixes drawn in the painting differ and the way chicks are expressed differ as well, such as painting the chicks in yellow or painting the chicks in five cardinal colors like that of phoenixes’ torso. But the posture of the phoenix couple has certain styles shared throughout different pieces. Therefore, this paper have classified the painting into four types. The first type is ‘gazing at the same point’, where the two phoenixes on the rock side by side, stare at the same place. This type has a long history and was usually drawn as decorative painting in royal courts, The second type is ‘facing each other side by side’, where the two phoenixes face each other side by side. This is the most common type, and shows an aspect of the time when the painting was actively drawn: civil painters used to imitate atelier style paintings and constantly reproduced popular paintings. The third type is ‘kissing phoenixes’, where the two phoenixes kiss each other in a close distance. This type was frequently used to decorate furnitures, and it directly depicts a happy couple. The fourth type is ‘one flying and one sitting’, where one phoenix is sitting on the rock and the other is flying towards its parter. This type reflects the time when the painting was actively drawn: people demanded symbolic and auspicious picture, and this type is the result of such demand. Lastly, this paper presumes that the wall painting of the Phoenix in Changdeokgung palace, produced in 1920, could be one of Pair of Phoenixes with Nine Chicks based on the similarity of its composition with the fourth type and also on the precedent that Pair of Phoenixes with Nine Chicks was drawn as a decoration in Changdeokgung Daejojeon.
Phoenix is one the four auspicious beasts, and is an imaginary bird that appears in times of good fortune. In Dongjin, during Mokje’s ruling, a pair of Phoenixes appeared in Fengcheng with their nine chicks. This was considered a lucky omen, and was drawn into a painting. This painting was originally enjoyed as decorative painting in royal courts, but after the 19th century, the painting became popular among the public, and was recognized as a chosunistic style painting. Harmonious family was one of the most important values of the time, and the depiction of phoenixes with their chicks was liken to such value. That would have been the reason why the painting was popular among the public as decorative painting that shows lucky omen.
In the Pair of Phoenixes with Nine Chicks, the upper part shows the sun and an empress tree, the bottom part shows an oddly shaped stone with phoenixes stepping on it, and the middle part shows the phoenixes and the chicks. Depending on the piece, the number and composition of phoenixes drawn in the painting differ and the way chicks are expressed differ as well, such as painting the chicks in yellow or painting the chicks in five cardinal colors like that of phoenixes’ torso. But the posture of the phoenix couple has certain styles shared throughout different pieces. Therefore, this paper have classified the painting into four types. The first type is ‘gazing at the same point’, where the two phoenixes on the rock side by side, stare at the same place. This type has a long history and was usually drawn as decorative painting in royal courts, The second type is ‘facing each other side by side’, where the two phoenixes face each other side by side. This is the most common type, and shows an aspect of the time when the painting was actively drawn: civil painters used to imitate atelier style paintings and constantly reproduced popular paintings. The third type is ‘kissing phoenixes’, where the two phoenixes kiss each other in a close distance. This type was frequently used to decorate furnitures, and it directly depicts a happy couple. The fourth type is ‘one flying and one sitting’, where one phoenix is sitting on the rock and the other is flying towards its parter. This type reflects the time when the painting was actively drawn: people demanded symbolic and auspicious picture, and this type is the result of such demand. Lastly, this paper presumes that the wall painting of the Phoenix in Changdeokgung palace, produced in 1920, could be one of Pair of Phoenixes with Nine Chicks based on the similarity of its composition with the fourth type and also on the precedent that Pair of Phoenixes with Nine Chicks was drawn as a decoration in Changdeokgung Daejojeon.
목차
Ⅰ. 머리말
Ⅱ. 길상장식화로서 구추봉도의 제작 배경
Ⅲ. 구추봉도의 도상별 특징과 의미
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (25)
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