식탁 위의 근대 = Modernisim on the Table: A Study on the Painting, "Banquet celebrationg the Trade-Treat between Joseon(朝鮮)and Japan(日本)in 1883"

다국어 초록 (Multilingual Abstract)

This study is about the painting, "Banquet celebrating the Trade-Treat between Joseon and Japan(朝日通商章程) in 1883(owned by the Christian Museum belonging to Unv. Sungsil)" by An Jung-sik(安中植) in the late Joseon Dynasty. The painting described the scene of the banquet held in the Governmental Office of the Trade between Joseon and Japan(統理交涉通商事務衙門) in Jae-dong(齋洞)，Seoul, Korea The members of this banquet were eight of the Korean, two of the Japanese, P G. von, Mollendorffthe who played a key role in contracting the treat, and his wife. This painting showed the characteristic of the modernistic banquet which originated from the early European modernistic countries. At that time the late Joseon Dynasty was standing in the turning point to the way of the new modernistic country, this treatise, therefore, aims to research the Sociological and Cultural meaning of the characteristics of the modernistic banquet held in the royal of the late Joseon Dynasty. The details of the table are following; first, table wares are all in western style. A knife and a fork and three spoons, in front of each guest. On one of the wares, is it likely to be cutler. There are a porcelain caster with red-colored string, likely to be filled with salt, pepper, soy-sauce and vinegar, and a powder-blue porcelain(粉靑沙器) filled with sugar cubes Five wine cups in different shapes and sizes. Beside them, there are a wine kettle porcelain and a bowl with a hexagon-shaped lid. It seems that the kinds of alcohol, whisky and gin were used in the banquet as well as grape wine in view of the different shapes of the cups. Piled-up Korean traditional cookies on the bowl looks likely to be desert. It shows that a style of the traditional Korean food was maintained partly in the banquet. The arrangement of the seats reflects partly the order of ranks of the royal in Joseon Dynasty; the seat of the korean host is the highest and those of the other guests are arranged according to the order of ranks. So the guest who was in the lowest rank was seated in the farthest from the host. This way of the arrangement of the seats are pretty familiar with that of the royal in Joseon Dynasty. The governmental officials in the Joseon Dynasty were regularly seated in order of the ranks, the head of each Office sat toward the direction of south (主壁)，the second, east(東壁)，the third, west(西壁) and the lowest rank, north (南床). In the painting, the Japanese guest is seated in the third rank (西壁), lower than that of Korean host and the german adviser(Mollendorf). This arrangement contradicted to the diplomatic courtesy of the modernistic country at that time. This means that the officials and the class of mainstream elites in the Joseon Dynasty did not recognize the contemporary modernistic trend of the world. They thought they could accept the structure of the western technology(西器) and develop the traditional Korean culture(東道). The details of the painting reflects the idea of the conservative elites in the late Joseon Dynasty, ``Dongdoseogiron(utilization of the eastern thought and the western technology 東道西器論)``; the arrangement of the seats, the eastern thought(東道) and the table wares, the western technology(西器). When the modernism of the west arrived in Joseon, it developed in it`s technological way. We can see the scene on the table.