藹春 申命衍의 繪畵

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

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
• Ⅵ. 四君子 · 怪石圖 · 人物畵
• Ⅶ. 맺음말
• 참고문헌
• 〈Abstract〉

참고문헌 (Reference)

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