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      藹春 申命衍의 繪畵

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      다국어 초록 (Multilingual Abstract)

      This thesis examines the life and artistic world of Aechun, Shin Myeongyeon(1809~1886), a literati painter of the Late Joseon Dynasty. He was born as the second son of Jaha, Shin Wi(1769~1847). He produced many paintings with such subject matters as flowers and birds, landscapes, the Four Gentlemen, and human figures, enriching the art circles of the Late Joseon Dynasty by introducing new styles of painting.
      Though he is not only estimated to have shown exceptional artistic talent in the painting of flowers and birds and also left many works with other subject matters, Shin Myeongyeon has not been the subject of specialized research as yet. In this context, this thesis will focus on his life and art as a whole. I think this will help to illuminate the art circles of the 19th century from various points of view, by clarifying his position in the art history of the Late Joseon Dynasty.
      Shin Myeongyeon was the son of Shin Wi, a representative scholar-gentleman painter and poet of those times, and remained in government service through his life after passing the military service examination; he was even promoted to the title of Dangsanggwan. Together with his brother, Shin Myeongjun(1803~1842), he cultivated the arts of poetry, calligraphy and painting with his own father. He was also related with Yoon Jeong(1809~?) and Lee Geonpil(1830~?), scholar-gentleman painters of the period.
      Following his father's view of painting, Shin Myeongyeon pursued the literati painting of the xieyi(寫意) style based on Su Shi(1036~1101)'s theory on art, which held that poetry and painting are one and the same thing. In addition, he had access to the various Chinese paintings that his father collected and appreciated. In particular, he accepted the new styles of painting of the Qing Dynasty created by the painters of Beijing with whom his father was acquainted. Most of his paintings plainly reveal the influence of this style and his positive introduction of Yun Shouping(1633~1690)'s style, which prevailed in the Qing Dynasty and made the circles of the painting of flowers and birds of the 19th century Joseon more prosperous.
      His paintings of flowers and birds are characterized by splendid, delicate colors and elaborate descriptions that drew on Yun Shouping's style. Shin Myeongyeon's style is identical to that of Nam Gyewoo(1811~1890) of the same period; the latter also produced flower and butterfly paintings. Through his new and varied paintings of flowers and birds, including elegant, light-colored paintings of refined brushwork, Shin Myeongyeon exemplified the aesthetic sense of the scholar-gentleman of 19th century Joseon.
      On the other hand, many of his landscape paintings are fangzuo(倣作) works. When producing such works, he recorded the original artists'names and the titles of their paint-ings on them, providing clear evidence of his profound knowledge of Chinese painting. The imitations as well as the regular landscape paintings of Shin Myeongyeon revealed both the style of the Orthodox School of the Qing Dynasty, which demonstrates that he had been affected by the style of landscape painting prevalent in Beijing at that time.
      As for his paintings of the Four Gentleman, it was Luo Pin(1733~1799) of the Yangzhou School of painting who exerted an influence upon his plum blossom paintings. Besides the paintings of the Four Gentleman, in which he sought the xieyi and the beauty of calligraphic brushwork, he also created paintings of oddly shaped stones. By choosing red and white plum blossoms for his paintings of plum blossoms, and a single standing rock for his paintings of oddly shaped stones, he exhibited all the new trends of painting of the Late Joseon Dynasty. Furthermore, he had frequently drawn portrait paintings since his childhood, particularly those of the Chinese style. His paintings of beautiful women were influenced by works popular in the Qing Dynasty.
      To summarize what has been mentioned above, most
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      This thesis examines the life and artistic world of Aechun, Shin Myeongyeon(1809~1886), a literati painter of the Late Joseon Dynasty. He was born as the second son of Jaha, Shin Wi(1769~1847). He produced many paintings with such subject matters as f...

      This thesis examines the life and artistic world of Aechun, Shin Myeongyeon(1809~1886), a literati painter of the Late Joseon Dynasty. He was born as the second son of Jaha, Shin Wi(1769~1847). He produced many paintings with such subject matters as flowers and birds, landscapes, the Four Gentlemen, and human figures, enriching the art circles of the Late Joseon Dynasty by introducing new styles of painting.
      Though he is not only estimated to have shown exceptional artistic talent in the painting of flowers and birds and also left many works with other subject matters, Shin Myeongyeon has not been the subject of specialized research as yet. In this context, this thesis will focus on his life and art as a whole. I think this will help to illuminate the art circles of the 19th century from various points of view, by clarifying his position in the art history of the Late Joseon Dynasty.
      Shin Myeongyeon was the son of Shin Wi, a representative scholar-gentleman painter and poet of those times, and remained in government service through his life after passing the military service examination; he was even promoted to the title of Dangsanggwan. Together with his brother, Shin Myeongjun(1803~1842), he cultivated the arts of poetry, calligraphy and painting with his own father. He was also related with Yoon Jeong(1809~?) and Lee Geonpil(1830~?), scholar-gentleman painters of the period.
      Following his father's view of painting, Shin Myeongyeon pursued the literati painting of the xieyi(寫意) style based on Su Shi(1036~1101)'s theory on art, which held that poetry and painting are one and the same thing. In addition, he had access to the various Chinese paintings that his father collected and appreciated. In particular, he accepted the new styles of painting of the Qing Dynasty created by the painters of Beijing with whom his father was acquainted. Most of his paintings plainly reveal the influence of this style and his positive introduction of Yun Shouping(1633~1690)'s style, which prevailed in the Qing Dynasty and made the circles of the painting of flowers and birds of the 19th century Joseon more prosperous.
      His paintings of flowers and birds are characterized by splendid, delicate colors and elaborate descriptions that drew on Yun Shouping's style. Shin Myeongyeon's style is identical to that of Nam Gyewoo(1811~1890) of the same period; the latter also produced flower and butterfly paintings. Through his new and varied paintings of flowers and birds, including elegant, light-colored paintings of refined brushwork, Shin Myeongyeon exemplified the aesthetic sense of the scholar-gentleman of 19th century Joseon.
      On the other hand, many of his landscape paintings are fangzuo(倣作) works. When producing such works, he recorded the original artists'names and the titles of their paint-ings on them, providing clear evidence of his profound knowledge of Chinese painting. The imitations as well as the regular landscape paintings of Shin Myeongyeon revealed both the style of the Orthodox School of the Qing Dynasty, which demonstrates that he had been affected by the style of landscape painting prevalent in Beijing at that time.
      As for his paintings of the Four Gentleman, it was Luo Pin(1733~1799) of the Yangzhou School of painting who exerted an influence upon his plum blossom paintings. Besides the paintings of the Four Gentleman, in which he sought the xieyi and the beauty of calligraphic brushwork, he also created paintings of oddly shaped stones. By choosing red and white plum blossoms for his paintings of plum blossoms, and a single standing rock for his paintings of oddly shaped stones, he exhibited all the new trends of painting of the Late Joseon Dynasty. Furthermore, he had frequently drawn portrait paintings since his childhood, particularly those of the Chinese style. His paintings of beautiful women were influenced by works popular in the Qing Dynasty.
      To summarize what has been mentioned above, most

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      목차 (Table of Contents)

      • Ⅰ. 머리말
      • Ⅱ. 家系와 生涯
      • Ⅲ. 申命衍繪畵의 形成背景
      • Ⅳ. 花鳥畵
      • Ⅴ. 山水畵
      • Ⅰ. 머리말
      • Ⅱ. 家系와 生涯
      • Ⅲ. 申命衍繪畵의 形成背景
      • Ⅳ. 花鳥畵
      • Ⅴ. 山水畵
      • Ⅵ. 四君子 · 怪石圖 · 人物畵
      • Ⅶ. 맺음말
      • 참고문헌
      • 〈Abstract〉
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      참고문헌 (Reference)

      1 이예성, "현재 심사정 연구" 일지사 2000

      2 韓正熙, "한국과 중국의 회화" 학고재 1999

      3 藤塚.. 著, "추사 김정희 또 다른 얼굴" 아카데미하우스 1994

      4 曺甫旼, "조선말기 淡彩花卉畵硏究" 2002

      5 박은순, "조선 후반기 회화의 대중교섭" 한국미술사학회 3-36, 2006

      6 이현일, "자하(紫霞) 신위(申緯)와의 대화" 23 : 123-144, 2003.여름

      7 高..姬, "연암일파(燕岩一派)의 회화론: 화조화를 중심으로" 185-210, 2002.3

      8 高..姬, "신위의 회화관과 19세기 회화" 한양대학교 출판부 193-223, 2006

      9 박은순, "서유구의 서화감상학과『..園經濟志』" 한양대학교 출판부 415-453, 2001

      10 진준현, "단원 김홍도 연구" 일지사 1999

      1 이예성, "현재 심사정 연구" 일지사 2000

      2 韓正熙, "한국과 중국의 회화" 학고재 1999

      3 藤塚.. 著, "추사 김정희 또 다른 얼굴" 아카데미하우스 1994

      4 曺甫旼, "조선말기 淡彩花卉畵硏究" 2002

      5 박은순, "조선 후반기 회화의 대중교섭" 한국미술사학회 3-36, 2006

      6 이현일, "자하(紫霞) 신위(申緯)와의 대화" 23 : 123-144, 2003.여름

      7 高..姬, "연암일파(燕岩一派)의 회화론: 화조화를 중심으로" 185-210, 2002.3

      8 高..姬, "신위의 회화관과 19세기 회화" 한양대학교 출판부 193-223, 2006

      9 박은순, "서유구의 서화감상학과『..園經濟志』" 한양대학교 출판부 415-453, 2001

      10 진준현, "단원 김홍도 연구" 일지사 1999

      11 金正喜著, "국역완당전집 2, 3" 솔출판사 1996

      12 金正喜著, "국역완당전집 1" 솔출판사 1996

      13 "고려대학교 대학원 국어국문과 박사학위논문" 1992

      14 "韓國의 花鳥畵 韓國의 美" 18-, 1985

      15 趙麒永, "紫霞申緯의 碧..舫藏本『唐詩畵意』에 대하여" 5-106, 1996.5

      16 "紫霞申緯의 漢詩硏究 서울대학교 대학원 국어국문학과 박사학위논문" 1987

      17 金貞淑, "石坡..昰應(1820..1898)의 墨..畵硏究" 2002

      18 "畵三絶紫霞申緯의 藝術觀 예술의 전당" 1991

      19 ..崇正, "淸代的宮廷繪畵和畵家" 北京: 文物出版社 1992

      20 安輝濬, "朝鮮王朝末期(약1850-1910)의 繪畵" 國立中央博物館 약1850-19101987

      21 安輝濬, "朝鮮末期畵壇과 近代繪畵로의 移行" 국립광주박물관 128-144, 1995

      22 韓正熙, "朝鮮末期中國畵의 ..入樣相-호림박물관 소장 <百衲..曲屛> 한 쌍을 중심으로" 예경 463-491, 2007

      23 姜寬植, "朝鮮後期美術의 思想的基盤" 5 : 1992

      24 崔耕苑, "朝鮮後期對淸회화교류와 淸회화양식의 수용" 1996

      25 ..成美, "張承業繪畵와 中國繪畵" 한국정신문화연구원. 서울대학교 박물관 12-32, 2000

      26 "壽平의 繪畵硏究 숙명여자대학교 대학원 미술사학과 석사학위논문" 1994

      27 Fong, "“Orthodoxy and Change in Early-Ch’ing Landscape Painting" spring1970

      28 Chung, "“An Introduction to the Changzhou School of Painting I" -293, summer/autumn1985

      29 Chung, Saehyang P, "Yun Shou-p’ing(1633-1690) and The Orthodox Tradition of Chinese Bird-and-Flower Painting" Columbia University 1633-1690, 1983

      30 Cahill, James, "The Orthodox Movement in Early Ch’ing Painting" Princeton: Princeton University Press 1976

      31 no, "Painting under the Qianlong Emperor Phøbus 6" Arizona State University 1988

      32 Loehr, "One Aspect of Ch’ing Painting" spring1970

      33 Tsao, "Chinese Paintings of the Middle Qing Dynasty" 1987

      34 Cheng, She, "An Overview of Stylistic Development in the Qianlong Painting Academy" Chinese

      35 高..姬, "19세기에 꽃 핀 花卉의 詩.畵-金正喜와 그 一派를 중심으로-" 韓國詩歌學會 101-128, 2002.2

      36 孫禎希, "19세기 碧梧社同人들의 繪畵世界" 미술사연구회 (17) : 161-199, 2003

      37 金鉉權, "19세기 四王畵風의 수용을 통해 본 근대 산수화" 국립현대미술관 1-15, 2003

      38 洪善杓, "19세기 ..巷文人들의 회화활동과 창작성향" (창간호) : 191-219, 1995

      39 鄭璟兒, "19世紀朝鮮時代花鳥畵의 硏究" 1997

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2027 평가예정 재인증평가 신청대상 (재인증)
      2021-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2018-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2015-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2011-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2009-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2007-01-01 평가 등재 1차 FAIL (등재유지) KCI등재
      2004-01-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      2003-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2002-01-01 평가 등재후보 1차 FAIL (등재후보1차) KCI등재후보
      2001-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      학술지 인용정보

      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.64 0.64 0.61
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.65 0.63 0.82 0.07
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