KCI등재
역사학 : 고려시대궁중회화(高麗時代宮中繪畵)의 성격(性格)과 특징(特徵) = Nature and Characteristics of Goryeo`s Court Paintings
저자
배원정 (한양대학교)
발행기관
학술지명
권호사항
발행연도
2010
작성언어
Korean
주제어
KDC
001.3
등재정보
KCI등재
자료형태
학술저널
수록면
117-143(27쪽)
제공처
Goryeo paintings do not remain in big numbers, and even the remaining few do not have definite creation dates or authenticity proof, which makes research on Goryeo`s court paintings even more challenging. Paying attention to the fact that Goryeo`s court paintings do have common elements with other general paintings, however, this study set out to collect and analyze data about Goryeo paintings studied to date and examine the nature and characteristics of Goryeo`s court paintings in details. Goryeo is regarded as the dawning in the history of Korean paintings since it was Goryeo that Korean paintings started to witness the full-scale spread of general landscape paintings, paintings of flowers and birds, and figure paintings. Influenced by Buddhism in early Goryeo and Sung Dynasty`s Sung Confucianism imported since middle Goryeo, Goryeo`s social perceptions began to change starting in the middle period. Goryeo paintings also started to show different trends from before; Goryeo`s active exchanges with Northern Sung resulted in the transmission of Sung`s advanced and various painting trends and systems including Kuo Hsi`s style and literati painting; a group of painters called dilettante literati artists emerged; paintings for Mo-xi(joy with Chinese painting) appreciation made a full-blown debut; the Hwa-guk was founded and the painters played remarkable roles; and a tradition of Silgyeongsansuhwa(real scenery landscape painting) in the family of Myeongseungmyeongsodo(the painting of noted scenery and celebrated locality) was also created. In addition to those trends and tendencies that deserve some attention, Goryeo paintings claim breakthrough significance that distinguishes them from their predecessors in that they made the foundation of medieval development in Korean paintings. In Goryeo, it was also checked out that Dohwawon was established which produced painters and governed Hoisas. Thus it provides crucial clues about Goryeo`s court paintings. Given that Goryeo`s court paintings are the predecessors of Joseon`s court paintings and their base since court paintings place great value on precedents, it is critical to examine their concepts, nature, and characteristics. The study first examined the background behind the creation of Goryeo`s court paintings. In Goryeo, the ancient traditions, which used to prosper on the basis of Buddhism, were inherited and developed more sophisticated and splendid. New trends never seen before started to emerge in general paintings. Among them, the tendency of Hanmuk as a literary man and the theory of literati paintings enabled them to form a medieval painting practice and promote the growth of general paintings in full scale. The nature and characteristics of Goryeo`s court paintings that were created with such a background are as follows; first, the practice, interest, and support of the nobility and the gentry provided an important base for the creation of Goryeo`s court paintings and served as one of the critical factors to define their nature. Then their connections with China were analyzed. During Goryeo, not only the civil ministers but also traders imported and appreciated diverse Chinese paintings through the sea and land routes, and such an atmosphere must have affected Goryeo`s court paintings. Finally, their connections with Confucianism, Buddhism, and Taoism were investigated. Focusing on the fact that the Goryeo culture was based on Confucianism, Buddhism, and Taoism, the investigator demonstrated that there were influential relationships between the court paintings and Confucianism, Buddhism, and Taoism. The research findings show that Goryeo`s court paintings were connected to and inherited to Joseon`s court paintings and served as an important fertilizer in the systematic growth of court paintings.
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