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RISS 인기검색어
- 검색키워드
- 저자 : 심강식 (검색결과 2 건)
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Joseon Dynasty(1392-1910) had the most development and widest variety of paintings and calligraphy in Korea's art history. It witnessed formation of its peculiar style as well as development of a variety of paintings including such varied themes as landscape, figures, birds, flowers and vases all of which were used for artistic appreciation and historical documentation. A portrait reproduces specific figures in a painting, with the theme of people's posture. Its characteristics differ from those of other painting styles. Originally, portraits illustrated and documented human attributes such as personality, spirit and character, beyond simple appearance. And when it was sublimed to inspire vitality, it was considered successful. So it was often said that it represented the person's outer and inner spirit. Portraits were considered precious because they represented the figures themselves rather than just paintings. This study was designed to identify the meaning in art history and importance of the portraits of Joseon period in painting history by reviewing as many portraits of the Joseon Dynasty as possible. The painting of this period were influenced by the Confucian ideas, and there were organized painting groups through which noble scholars were active in paintings and they produced a considerable number of superior portraits. As a new flow of the early Joseon Dynasty, Confucian philosophy expanded its power. Confucian rules and established forms for showing respect to ancestors were considered important and had a great influence on the consciousness of Korean people. Characteristics of the painting appearing in this time were as follows: the development of seven-division or eight-division of left face was statistically overwhelming. In Goryeo Dynasty, the right side of the face was highlighted, but in Joseon Dynasty, a left-facing posture was used. In Joseon Dynasty, the delicate techniques of Goryeo Dynasty were replaced, and lines were used to display their best function. Based on the idea of respecting ancestors and giving thanks for their hard work, the number of family shrines and memorial halls rapidly increased. Therefore, the demand for portraits increased enormously and they were painted by professional painters. At this time, a new technique to display high dignity of the face through delicate representation of the forehead, the nose, the chin, and the cheekbones appeared, which had a considerable influence on the development of portraits of the middle Joseon Dynasty. In the late Joseon Dynasty, Confucian philosophy collapsed and practical science appeared. The new trend of science was found in portraits and it was called Hun-Yeom-Beop, a painting technique using shading. It was concerned with free posture with natural curves of the face, which focused on representation of realistic figures. It was derived from Chae-yong-shin-hwa-beop, a painting technique. Naturalism was found only in the portraits of As the objects of portraits were noble human figures, the painting procedure was complicated and strictly controlled. It was thought that the painting process of kings' portraits had an effect on the production of general portraits. Human figures are physical while thoughts and minds are metaphysical. Our ancestors thought that if painters did their utmost to make a precise representation of human outer figures, the inner features could also be represented. They thought it was a basic principle of portraits that painters should identify the peculiar character of the objects completely. At that time, the representation of clothing was simplified, but a focus was given on the face to describe personality and characters of human figures. Also, the painters described hair, beards, spots and even scars with delicacy, attempting to paint a persons' outer and inner spirits. In looking over the portraits of the early, middle and late Joseon Dynasty, it was found that the painters put their best effort to describe the objects precisely, and keeping precision of description in their mind, they tried to represent ideas, personality and characters of the objects. In the early Joseon, the focus of portraits was on the whole body, but in the late period, it was in a standing position. In the early period, a focus was on lines, but in the late period, the ultimate goal was to achieve faithful traditional representation of volume overcoming the limits of lines. In composition, the figures had a static posture with calmness and elegance, which highlighted the outer and inner spirits of the figures. Thus, the portraits with Korean elegance and aesthetics occupied clear and definite positions in the history of painting. When the western paintings were compared with those of Joseon period, the former focused on realistic representation of the figures while the portraits of the latter intended to describe personality, philosophy and ideas as well as appearance of human figures.
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