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

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      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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      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 cer...

      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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      참고문헌 (Reference)

      1 최세진, "훈몽자회 초중10"

      2 주강현, "한국의 두레 1" 집문당 1997

      3 스튜어트 컬린, "한국의 놀이" 열화당 2003

      4 "프랑스 국립기메동양박물관 소장 한국문화재"

      5 권혁희, "조선풍속화보" 민속원 2008

      6 김영자, "조선왕국 이야기 -100년전 유럽인이 유럽에 전한-" 서문당 1997

      7 강명관, "조선 사람들, 혜원의 그림 밖으로 걸어나오다" 푸른역사 2001

      8 동아대학교 역사인문이미지연구소, "일제침략기 사진그림엽서로 본 제국주의의 프로파간다와 식민지 표상" 민속원 2019

      9 "유럽박물관 소장 한국문화재 2권"

      10 성현, "용재총화 2권"

      1 최세진, "훈몽자회 초중10"

      2 주강현, "한국의 두레 1" 집문당 1997

      3 스튜어트 컬린, "한국의 놀이" 열화당 2003

      4 "프랑스 국립기메동양박물관 소장 한국문화재"

      5 권혁희, "조선풍속화보" 민속원 2008

      6 김영자, "조선왕국 이야기 -100년전 유럽인이 유럽에 전한-" 서문당 1997

      7 강명관, "조선 사람들, 혜원의 그림 밖으로 걸어나오다" 푸른역사 2001

      8 동아대학교 역사인문이미지연구소, "일제침략기 사진그림엽서로 본 제국주의의 프로파간다와 식민지 표상" 민속원 2019

      9 "유럽박물관 소장 한국문화재 2권"

      10 성현, "용재총화 2권"

      11 최영년, "속악유희(俗樂遊戱), 해동죽기(海東竹技) 중편"

      12 신선영, "세기 말 시대의 반영, 기산 김준근의 풍속화, 기산풍속도 -그림으로 남은 100년 전의 기억"

      13 장계수, "생활문물연구" 국립민속박물관 2003

      14 조흥윤, "민속에 대한 기산의 지극한 관심" 민속원 2004

      15 정형호, "농악 용어의 역사적 사용과 20세기 고착화 과정에 대한 고찰" 한국민속학회 62 : 77-114, 2015

      16 한양명, "기산풍속화의 놀이 분야 검토를 위한 시론" 한국민속학회 2012

      17 조흥윤, "기산풍속도첩" 범양사 1984

      18 배영동, "기산풍속도의 생산민속과 복식" 숭실대학교 한국기독교박물관 (4) : 2007

      19 "기산풍속도 -그림으로 남은 100년 전의 기억"

      20 김광언, "기산김준근의 풍속도 해제, 유럽박물관 소장 한국문화재"

      21 하인리히 F.J 융커, "기산 한국의 옛그림" 민속원 2003

      22 정형호, "기산 김준근의 풍속화에 나타난 민속적 특징" 중앙대 한국문화유산연구소 (13) : 2008

      23 신선영, "기산 김준근 풍속화에 관한 연구" 한국미술사교육학회 20 : 105-141, 2006

      24 박효은, "근대 전환기 개항장의 한국화가 김준근" 숭실대학교 한국기독교박물관 (4) : 2007

      25 "감로탱(선암사 서부도전, 봉서암, 삼성미술관, 수국사, 흥국사, 개운사, 경국사, 불암사, 봉은사, 보광사, 청룡사, 백련사, 통도사)"

      26 신선영, "箕山 金俊根 繪畫 硏究" 한국학중앙연구원 한국학대학원 2012

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2022 평가예정 재인증평가 신청대상 (재인증)
      2019-06-07 학회명변경 영문명 : 미등록 -> National Folk Museum of Korea KCI등재
      2019-01-01 평가 등재학술지 유지 (계속평가) KCI등재
      2016-01-01 평가 등재학술지 선정 (계속평가) KCI등재
      2015-12-01 평가 등재후보로 하락 (기타) KCI등재후보
      2011-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2009-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2006-01-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      2005-05-27 학술지등록 한글명 : 민속학연구
      외국어명 : Korean Journal of Folk Studies
      KCI등재후보
      2005-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2003-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      학술지 인용정보

      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.5 0.5 0.44
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.44 0.39 1.048 0.13
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