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- 저자 : 李惠敬(Lee Hea-gyeong, 이혜경) (검색결과 1 건)
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李惠敬(Lee Hea-gyeong) 미술사연구회 2006 미술사연구 Vol.- No.20
During Joseon dynasty, publishing has played important role to formulate governance ideology and enlighten a subject. For this reason, national institute such as Gyoseogwan(校書館) has published large amount of literature. In the period of King Jeongjo(正祖: 1777~1800), there also were many literatures published by national institute and it is noticeable that among those officially published literatures, many literatures included a number of printings. Before that period, printings in books were regarded as only auxiliary elements. But after 1790’s, latter period of reign of Jeongjo, the printings became important parts in books in terms of amount, substance and showing advanced feature. There are two backgrounds to consider before investigating prosperity of the printings of Jeongjo’s period. One is the reorganization of Gyujanggak(奎章閣) as a central authority of politics, culture and academy. In this process, Gyoseogwan which had been public printing office was incorporated into Gyujanggak. The other background is the active correspondence with Qing(淸), It led inflow of numerous printings of Qing, which might affect on printings of Joseon. These kinds of books, officially published in this period, include ritual manual, the sutras, confucianism literature, biography, books on martial art and so on. This study focuses on the seven books published in the reign of Jeongjo. Muyedobotongji(『武藝圖譜通志』), Bumoeunjunggyeong(『佛說大報父母恩重經』)(1796), Wonhaengeulmyojeongliuigwe(『園行乙卯整理儀軌』)(1797), Oryunhaengsildo(『五倫行實圖』)(1797), Chunglyeollok(『忠烈錄』)(1798), Yangdaesamasilgi(『梁大司馬實記』)(1799), Hwaseongseong’yeok’uigwe(『華城城役儀軌』)(1801). Except for Muyedobotongji, which was published in 1790, all the other books were published during the last five years of Jeongjo’s reign. It should be noted that although these books mostly include large amounts of printings, the publishing projects had been taken only for a few years. That is associated with that these printings show various policies for fortification of royal power and for renaissance of culture of Jeongjo. By doing so, he intended to propagate his political ability and reinforce his own power. In these books, printings share a large proportion of entire contents and established high quality respectively to that of former time. Rationality of composition and diverse style of articulated and variegated engravings show novel aspect of Joseon printings. What makes it possible is that Jabidaeryeong Hwawon(差備待令畵員) belonging to Gyujanggak participated in sketch work, and nationwide selected private, public engravers were employed. We can see the records about printing producers in this era at NaegakIllyeok(『內閣日曆』). In the printings of this period, we can find the composition introducing visual realism such as far and near view, perspective, detail description. In these printings, various buildings are shown standing stable and their details are well-described. Especially, printings in Hwaseongseong’yeok’uigwe which complex buildings are deseribed elaborately are noticeable. On one hand, broadening sense of space is another characteristics of the printings. Gradually reduced scale of object and scene as moving into center is not found before this age. This broadening sense of space by perspective was also seen in ‘True-view Landscape Painting’ in 18th century, which means that style of printing shares that of painting. Novel and various engraving line styles are outstanding feature of the printings of this age. Extremely thin line as that of engraving on copper plate, unconventional thick line, line with varing width, smoothing line, sharp line, description with dots and so on compose an engraving technique of this age. Especially, in Oryunhaengsildo, the mixtures of thick and thin engraving lines created scene with more flavor variation. Despite these various features, including printings of this age, Korean old printings have not been main subject of the art history study. Main reason for it may be that the reprinting availability of printings contradicts to scarcity of old paintings which is one of the main field of art history study. Considering, however, its broad impact by reprinting by hundreds or thousands volumes and the art history is the field of studying visual culture, printing should be another main research subject of the art history.
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