기산풍속화의 분류에 따른 소장처별 특징과 민속학적 의미 = Characteristics and folklore meaning of each collection according to the classification of Gisan genre paintings

다국어 초록 (Multilingual Abstract)

Based on 1089 pieces of Kim Jungeun's genre paintings this paper analyzed and classified Gisan's paintings into 394 types of 9 areas, occupations, social life (punishments, education, transportation, people's life), food, costumes, housing, ritual ceremonies, recreations and games, entertainment, religion, and animals, as its first classification. Paintings are then subdivided into collections with sub-groups of folklore classification to examine characteristics. There are 6 types of seal in Gisan's paintings, and most of the writings or poetries written in all paintings are mostly in Korean, however, some works, collection from Soongsil University and Seoul Museum of History, and very few from Canada collection are written in Chinese characters.
To compare with the most prominent genre painters of the Joseon period like Kim Hongdo, Shin Yunbok, Kim Baekgok on the composition and delineation of Gisan genre paintings, Gisan's work exclude or minimize unrelevant surrounding features so that the actual object will be focused. Some tools and sacrificial offerings were depicted in details. When drawing a figure the front view is preferred rather than side and back, which emphasized the realistic view of the objects. Unlike any other genre paintings his work shows rather simple structures, identical face expressions, static movements, but this is because Gisan was producing massive quantities of genre paintings.
And some of the materials that should appear in the paintings of the late 19th century are not represented in Gisan's paintings. Features like dure (collective laboring operation), chodong (woodsman), livestock breeding, cooking, thatching, scence of funeral, childbirth and baek-il (100th-day celebration), dol (first year of a child), jwibulnori (traditional game), Gonu game, jangchigi game (Korean polo), biseokchigi game (knocking down stones), jishinbapgi (driving out evil spirits and wishing good fortune), a village guardian and wooden pole of folk belief, statues of gods are hard to find in his paintings.
As a male artist who is from the ports of Wonsan he also made a clever choice engaging the customers request, exclusion of other religions and any form of gods in viewing from Christian view, elimination of common customs in general, omission of materials that not covered in the previous model. The reasons for this are the fact that Gisan was originally from Wonsan and was mainly active in major open ports, the limitations of his experience as a man, the selection of materials that meet the viewpoints and needs of foreigners, the omission of the deity of other religions from the Christian viewpoint, and the elimination of generalized and familiar lifestyles. This is due to the exclusion of material not covered in the existing model, and the stages prior to generalization to folk history.
The biggest meaning of the folklore history of Gisan genre paintings is that Gisan painted various paintings in a wide range of fields. While the total paintings of genre painters in the late Joseon period only exist in 50 types, Gisan covers a vast field close to 400 types. Also, about 60% of the total paintings are only overlapping one or two works, except for most demanded pieces, which does not seem severe compare to other works.
Because Gisan viewed from the perspectives around the world the was able to delineate the everyday lives of underlying culture. It was the opportunity to depict every aspect when drawing to the request of customers.
It is a great milestone to the study of Korean folk history Gisan's paintings which shows subjects in a wide range of areas, especially poetries or writings on all paintings. With this regard his paintings are of a great legacy and act as a mediating role between various documents regarding seasonal customs after the late Joseon period and field research data in the 20th century.
His vast number of paintings hold mutual relationship with each other, not individually separated. In this...

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