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하수경(Ha Soo-kyung),진준현(토론자) 비교민속학회 2004 비교민속학 Vol.0 No.27
This paper aims to analyze the mutual relations between the widely distributed falk paintings and economic conditions in late Chosun dynasty. Although we could guess the phenomenon of this wide distribution of falk paintings was due to the political stability and economic development during the period of 18th to 19th century, we had difficulties in getting tangible written materials and previous research works on this subject. This study, therefore, was carried on the basis of the assumptions that these widely distributed falk paintings could be considered as a substantial evidence and certainly have some connections to the contemporary economic situation and that the analysis of demand and supply of these paintings could give a due to the effects of them on the contemporary economy and vice versa. The demand of falk paintings had mainly been formed to decorate folding screens or walls in traditional Korean-style houses showing some falk beliefs and teachings of the code of conduct, or being a mere ornament. The faa that the consumers varied from Yangban to commoners means the purchasing power of commoners had been grown. The supply of the paintings had been taken either directly by the painters themselves or through the agents. Popularization of the falk painting as a commodity triggered the promotion of material production which activated the economic development. Multi-production of material led to the way by which the painters could get the good-quality material with cheaper price. The increase of production and sales created new jobs and employment. In consequence with this, the guild of commercial painters was organized and the division of labor in production line was introduced.
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정병모(Chung Byungmo),진준현 (토론자) 한국미술사교육학회 2011 美術史學 Vol.- No.25
이 논문에서는 조선후기에 유행한 풍속화에서 일상이란 어떤 내용이고, 어떤 의미가 있으며, 이후 회화사에서 어떠한 영향력을 갖는지에 주목하고자 한다. 한국회화사에서 이상적이고 고상한 세계를 중시했던 가치관에서 현실적이고 사소한 세계에 주목하는 가치관의 변화가 일어났다. 이러한 변화는 조선후기 18세기 풍속화로부터 시작되었는데, 그 키워드는 ‘일상’이다. 풍속화를 통해 그동안 사소하고 하찮게 여겼던 일상의 가치를 다시금 깨닫고 그 아름다움을 모색한 것이다. 초기에는 윤두서가 서민의 노동을 화폭에 담는 것으로 시작했던 풍속화가 사회풍자, 해학, 에로티시즘 등 서민의 깊은 정서와 취향을 반영된 그림으로 발전하였다. 풍속화의 일상은 19세기 민화로 이어지다가 최근에 와서는 대중문화로 꽃을 피게 되었다. 오늘날 한국에서 대중문화가 발달하게 된 그 원동력은 조선후기 풍속화와 같은 서민문화에서 찾을 수 있고, 그것은 평범한 인간생활의 가치와 아름다움에 대한 인식의 전환에서 비롯된 것이다. 그러한 의미에서 조선후기 풍속화에 등장한 일상의 표현은 한국의 전통문화가 근대로 나아가는 중요한 지표가 되는 것으로 볼 수 있다. This thesis sets out to explain how the everyday life was expressed in the genre paintings during the late Joseon Period (1392-1910), its significance in the Korean art history and its influence upon the paintings made after the Joseon Period. A conspicuous change occurred in the Korean art history during the late Joseon Period in which artists began to leave the traditional aestheticism that valued the idealized grandiose landscapes to focus on the seemingly trivial scenes in the real world. The change was initiated by the genre painting of the 18th century where the key word for the new trend was ‘everyday life’. Artists of the period discovered the artistic value of the everyday life scenes which they had regarded as trivial and worth little, and began to put the beauty onto their paintings. The earliest genre paintings represented by the works of Yun Du-seo captured scenes of the common people’s manual labor, but gradually they widened their subject matters, using the elements of satire, humor and even eroticism to capture the taste and deeper emotional states of common people. The development of genre paintings was succeeded by the vogue of minhwa (folk paintings) in the 19th century and then today’s popular entertainment. The original driving force for the prosperity Korean popular culture relishes today can be traced back to the cultural activities of common people in the late Joseon Period including the flourish of genre paintings resulted from the discovery of the aesthetic beauty and value in the daily activities of ordinary people. It is in this context that one can conclude that the artistic depiction of daily scenes in the genre paintings of late Joseon should be regarded as an important index to show the shift of Korea’s traditional culture to modernity.
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