怪石圖에 나타난 表現技法에 관한 硏究 : 朝鮮時代 繪畵作品을 中心으로 = (A) study on the expressive techniques of an oddly shaped stone paintings : focusing on paintings of the chosun dynasty

다국어 초록 (Multilingual Abstract)

From time immemorial people have had a relation with stone. In the primitive ages stone was the necessary tool for human being to survive. Stones were the substance which people needed to be accustomed to in various uses, including objects for worship, and which led human beings to long for the beauty of nature and to admire harmonic beauty. The human instinct to assimilate with nature, which relates to Oriental philosophy in which nature is the basis principle of the universe, has developed into a desire to be near to nature, that is, to move nature into people's gardens and where they can appreciate it. This long relation with stone from primitive ages explains why people have an affection for and intimacy with stone. Through the period of close relations between human life and stone in various respects, people have attained eyes for its deep beauty and paid compliments to extraordinary rocks.
Among Korean old paintings, an oddly shaped stone painting reveals a love for stone and asexemplified in the ancient painting in which a pot together with an extraordinary stone is placed in a room. We can easily find this love for stone in the folk painting which was wide spread among the people.
Among the paintings of the Chosun Dynasty, many paintings placed great importance on the expression of stone; seokae-do, nanseok-do, seokjuk-do, jukseok-do, gornok-jukseok-do, songseok-do, geoseok-chochung-do, geoseok-hwahwe-do, and so on. At the end of a that period new painting appeared known as an oddly shaped stone painting was the theme. But in the early modern era, when the Southern pictorial style was at an ebb and the national fortunes fell, an oddly shaped stone painting barely maintained its existence without its creativity.

목차 (Table of Contents)

• 목차 = ⅰ
• ABSTRACT = ⅱ
• Ⅰ. 序論 = 1
• Ⅱ. 怪石圖의 根源 = 4
• A. 선비정신과 怪石圖 = 4
• B. 拜石圖의 유래 = 8
• C. 조선시대 怪石圖 = 9
• Ⅲ. 繪畵속에 표현된 怪石 = 10
• A. 民畵에 나타난 怪石들 = 10
• B. 朝鮮王朝時代 四君子畵에 표현된 바위(石) = 12
• 1. 朝鮮王朝 初期 秀文의 墨竹畵帖에 표현된 바위(石) = 12
• 2. 朝鮮王朝 中期(약1510~1700년) 李霆·李澄·吳達濟·金世祿의 四君予畵에 표현된 바위(石) = 14
• 3. 朝鮮王朝 後期(약1700~약1850) 姜世晃·申緯의 四君子畵의 표현된 바위(石) = 18
• 4. 朝鮮王朝 末期(약1850~1910) 許鍊·閔泳翊의 四君子畵에 표현된 바위(石) = 21
• C. 조선시대 怪石圖의 표현양식과 변화 = 24
• Ⅳ. 怪石圖에 나타난 表現技法 = 29
• A. 毫生館 崔北, 豹菴 姜世晃의 怪石圖 = 29
• B. 흑산 尹濟弘, 黃山 김유근의 怪石圖 = 31
• C. 小癡 許鍊의 怪石圖 = 33
• D. 夢人 丁學敎의 怪石圖 = 35
• E. 菁雲 姜璡熙, 又香 丁大有, 小琳 趙錫晋, 芸楣 閔泳翊, 心田 安中植, 海岡 金圭鎭의 怪石圖 = 38
• Ⅴ. 結論 = 41
• 參考文獻 = 43
• 參考圖版 = 45