KCI등재후보
朝鮮後期 風俗畵의 기원 : 尹斗緖를 중심으로 = The Origin of Genre Paintings in the later Chos□n Period-A Study on the Basis of Yun Tu -s□'s Paintings
저자
발행기관
학술지명
권호사항
발행연도
1992
작성언어
Korean
KDC
609
등재정보
KCI등재후보
자료형태
학술저널
수록면
40-63(24쪽)
제공처
소장기관
The genre painting of the later Chos□n period was called sokhwa, vulgar painting, from the point of view of the yangban scholar-officials. Until now, although the studies of genre painting have certainly helped us to understand it, there remain problems especially as the work of Yun Tu -s□, a pioneer of genre painting, have not been thoroughly researched, As for his genre paintings, 'Gathering Herbs', 'Making Straw Shoes' and 'Carving Wooden Vessels' and 'Stone-breaking' are among those known today.
The people who appear in Yun Tu -s□'s genre paintings are those who were looked down upon as they belonged to the lower classes of Chos□n society. The fact that these people appear as the main flgures in his paintings suggests a change towards a new society, a change advocated by Yun Du -s□. The figures in his works are all engaged in some kind of physical work : they are not the ideal types of human being sought by the yangban officials. Also we can see Yun's pioneering work, in that through his paintings he created and respresented a new era and new types of human beings.
The yangban scholar-officials at that time restrained their emotional expression in both literature and art. The aesthetic categories which they pursued were those of gracefuless and moderation. In such a period, it was a drastic change for the lower classes to be seen in Yun's paintings.
The genre painting of this period was based on realism, such realism was a result of changes in Confucian epistemology. Yi Ik(1681-1763) showed a new direction in leo-Confucianism by criticizing the traditional Neo-Confucianism of Zhu Xi : all beings in the world differ from each other. Accordingly one should seek the appropriate method with which to discriminate the different principles of each thing. To understand phenomena, one needs a variety of knowledge, which should be pursued. Thus from a human viewoin t, one should found an objective understanding of human
brings according to their differences. Yun Tu -s□ shared this common understanding in common with Yi Ik's thought. Yun sought out one by one the individual characteristics of all beings by verifyin g and investigating their properties. The genre paintings of the Chos□n period came into being in this way.
Yun's deep understanding and affection for the lower classes is visible in the figures that appear in his genre paintings. On the one hand he did not want to lose the moderate gentleness of the yangban scholar-officials, while on the other his recognition of the equality of all people distinguishes him from the rest of his own class. Escaping from the disillusionment and despair of the sch olar-official society, he sought new expectations and hope in the life of the lower classes.
Yun Tu -s□'s concerns, hopes and expectations of these classes are represented in his paintings. He not only had knowledge of craftsmanship and other skills, which were disregarded by the yangban class, but also practised these skills himself. In his paintings he actually took as subjects both the tools and the craftsmen who carved wooden vessels.
The genre paintings of Yun Tu -s□ do not display the realism that is found in kim Hong-do and Sin Yun -bok's paintings. This was probaly because of the constraints on upper-class life, an unavoidable restriction imposed by the class system, but this does not diminish the value of his genre painting, as this showed the opening of a new era, reflecting the new ideas and concerns of the time.
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