조선시대 花鳥木版畵 연구 = A study on the woodcut of Flowers and Birds in Choso˘n Dyansty

다국어 초록 (Multilingual Abstract)

The woodcut of flowers and birds is a field that has not been almost covered in studies of old prints. This seems related to the lack of modernistic studies on the paintings of flowers and birds (hwajohwa). During the Chosun Period, this painting genre was popular among high officials and commoners as well as in painters' circles. While having received influence from China and its neighboring countries, it is used to create unique painting styles with the change of the times. This suggests that the painting genre has played an important role in the Korean painting history-and so should not be easily ignored. Since there was much influence from Japan during the Japanese colonial period, however, those flowers-and-birds paintings were recognized to belong to a Japanese painting genre even after the restoration of Korea's independence in 1945. That would be why little attention is being paid to the painting genre today. As a result, such recognition has led to the lack of studies regarding the flowers-and-birds paintings, and in turn it has influenced a lack of understanding concerning the importance of those woodcuts, in addition to the reality that there are few remaining woodcuts of flowers and birds. Accordingly, this study is focused on the flowers-and-birds woodcut that has not been almost dealt with in the previous studies on old prints. Its purposes are to promote the understanding about the woodcut confirm its position as an old printing area and provide a new basis for the study of flowers-and-birds paintings.
The woodcut of flowers and birds is a form of woodprint which is same as a pure colored style of flowers-and-birds paintings in its expression and includes all pieces of work created using wood-engraving techniques. In this study, the woodcut of flowers and birds is considered as including both of the simple flowers-and-birds paintings printed from woodblock and the ones colored in specific styles on the woodblock prints.
This study focuses on the Chosun Period compared to other periods in the number of available pieces of flowers-and-birds woodcut. To examine their characteristics, it categorizes those woodblock prints into flowers-and-birds woodcut for space decoration, book, flowers-and-birds woodcut, writing paper with flowers and birds, envelopes with flowers and birds, and character paintings with flowers and birds according to the purposes for which they were used and into beast woodcut and floral woodcut according to what is the subject matter used with.
Mostly, the flowers-and-birds woodcut for space decoration-in other words, produced for the purpose of decorating everyday living spaces-engraves the outlines forming its frame and the patterns of trees, flowers, birds, waves, and rocks infine lines emphasizing their characteristics, texture, and shapes and has a style colored with a brush on the engraving. The book flowers-and-birds woodcut is divided into two main types: One reveals its subject through its used subject matters, and the other focuses on documentary and decorative characteristics. When categorized as wiring paper or an envelope, most pieces of woodcut contain flowers and birds as their main subject matters. In particular, they were created as part of the way to express one's own unique personality, so there were many dilettantes who enjoyed working on them. Since most bear a engraver's signature, it is not difficult to infer when and where they were created and to find out information about their users. Shown in character paintings, flowers and birds are printed from their woodblock patterns engraved in black-colored letters. Their bold contrast of black and white makes a strong visual impression, and the rare overlaps between subject matters gives a weak sense of spatiality, but a strong sense of planarity.
In the categorization based on the used subject matters, most of the floral woodcut works discovered have been made for a decorative purpose rather than with an incantatory intention, while a significant number of beast woodcut works with flowers and grass as their main subject matters seem to have come from an incantatory intention, even though they bear a decorative purpose in part.
In general, the woodcut of flowers and birds is not a simple woodblock engraving print with a single color, but a piece of work colored and finished with a brush on the print. This way of creation would probably be attempted to avoid having to draw a rough sketch whenever it was produced in large quantities. This serves as a main factor that makes the woodcut distinct from the pure-colored paintings of flowers and birds. The patterns printed from the engraving give the iconographic contour accuracy and definition so that undesired expressions can be minimized. And the woodblock-printed book is planned precisely, but not created temporarily or impromptu, so the overall iconographic composition can maintain balance and stability. Therefore, the finished work could be equipped with refinement and delicacy, although there might be limits in liberal expressions. These are some of critical features shown in the woodcut of flowers and birds, which are why the woodcut works are balanced and stable in their iconographic composition.
So far, this study has focused on the flowers-and-birds woodcut, which has been seldom discussed in the existing studies, reviewing its meanings and historical background as well as types and characteristics. Most of difficulties in conducting the study came from the lack of studies on the woodcut and the shortage of its remaining works. If this study leaves something to be desired, the reason is that those difficulties acted as obstacles to a comprehensive and detailed discussion.

목차 (Table of Contents)

• Ⅰ. 서론
• 1. 연구 목적 및 의의
• 2. 연구의 범위 및 방법
• Ⅱ. 조선시대 화조화의 전개
• 1. 화조화의 정의와 역사
• 2. 시기별 전개 양상
• 3. 계층별 전개 양상
• Ⅲ. 조선시대 화조목판화의 종류
• 1. 용도별 분류
• 2. 소재별 분류
• Ⅳ. 조선시대 화조목판화의 특징
• 1. 형식적 특징
• 2. 내용적 특징
• Ⅴ. 결론