小說『紅樓夢』과 淸末 미인 이미지 考察

다국어 초록 (Multilingual Abstract)

Dream of the Red Chamber(紅樓夢), written by Cao Xueqin(曹雪芹, ca. 1715~1763) in the mid-eighteenth century, is one of the great classical novels of the Qing Dynasty, and is still the subject of many studies. The first 80 chapters of the novel were written by Cao Xueqin, while Cheng Weiyuan(程偉元, ca. 1745~1819) and Gao E(高顎, 1763~1815) added the next 40 chapters after Cao’s death to complete the novel of 120 chapters. This novel is believed to mirror the rise and fall of Cao Xueqin, who had an affluent life in Nanjing when young, but later had a miserable life after the ruin of his family when he wrote the novel.
Dream of the Red Chamber is based upon the progressive movement that prevailed in the late Ming and early Qing periods, and was written under much influence of Emotionalism, which was hailed by the literati in the late Ming Dynasty. Moreover, it is assumed that the novel also reflects the progressive ideas of Yuan Mei(袁枚, 1716~1797) and other poets of the Xingling School, which had women writers as their disciples and published Anthology of Poems by the Women Pupils in Suiyuan Garden(隨園女弟子詩選).
Dream of the Red Chamber portrays “the twelve beauties of Jingling(金陵十二釵)” and their numerous maids and bondservants as the main characters of the novel. These were women of beauty who had a fine taste for poetry and prose, calligraphy and painting, music and other refined interests-representing the typical heroines in the classical novels. The women in the novel, which comprise the major part in the novel, soon became one of the main subjects of artists and were represented in illustrations and paintings of beauties. In particular, artists in the nineteenth century, including Gai Ai(改琦, 1774~1829) and Fei Dan Xu(費丹旭, 1802~1850), depicted the lives of the beautiful and slender women in the novel in accordance with the narratives in the novel against the backdrop of trees, flowers and pavilions. These artists borrowed the female figures from the paintings of the beauties of the late Ming and early Qing periods, or sometimes rendered the scenes in the novel in new and creative settings. Their paintings of beauties had a great effect on the paintings of the later generations.
Apart from the illustrations in woodblock prints and polychrome paintings of the nineteenth century, Dream of the Red Chamber also became the subject of New Year’s paintings(年畵), which were intended for celebration, entertainment, or good omens, but they were superseded by Yue fen pai hua(月份牌畵), or calendar advertisement paintings, since the early twentieth century. Iconography in the Dream of the Red Chamber survived in modern times in such advertisement paintings, and the classical female figures of the Qing period had turned into women with seductive posture set against modern architectural settings, colorful flowers, or Western-style interiors. The images of heroines in the Dream of the Red Chamber, which were widely favored in the Qing period, are believed to have influenced the advertisement paintings of the early twentieth century.

목차 (Table of Contents)

• I. 머리말
• II. 『紅樓夢』과 ‘金陵十二釵’
• III. 『紅樓夢』과 19세기 미인 이미지
• IV. 『紅樓夢』의 대중적 전파와 20세기 초 상업미술에의 영향
• V. 맺음말
• 참고문헌
• 〈Abstract〉

참고문헌 (Reference)

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