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조선 말기 조희룡을 통해 살펴본 근대적 회화인식
Cho Hee-ryong’s point of view on painting in the late Joseon Dynasty

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Authors
장은영
Issue Date
2015-09
Publisher
서울대학교 규장각한국학연구원
Citation
한국문화, Vol.71, pp. 219-253
Keywords
조희룡의 회화인식중인문인화원체화남죽종화파의 구분아법천예수예Cho Hee-ryong’s point of view on paintingcommonersliterati paintingcourt paintingthe discrimination between the south and the north schoolan artist’s own way of painting我法nature天倪handcrafting skill手藝
Abstract
This paper examined Cho Hee-ryong(趙熙龍, 1789-1866)’s point of view on painting in the 19th century. He learned how to draw the Four Gracious Plants(四君子) under Kim Jeong-hee(金正喜, 1786-1856) who tried to secure the legitimacy of the south school literati painting(南宗 文人畵) as the literati. However, Cho Hee-ryong, who belonged to the commoners, could see works of art from a new perspective ; he thought that painting was neither the literati’s own work nor the court painter’s. He began to consider that the discrimination between the south and the north school should be resolved. He finally maintained that it was important to draw according to an artist’s own way of painting(我法) formed by nature(天倪), and painting was completed by handcrafting skill(手藝).
ISSN
1226-8356
Language
Korean
URI
http://hdl.handle.net/10371/168230
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Kyujanggak Institute for Korean Studies (규장각한국학연구원)Korean Culture (한국문화) Korean Culture (한국문화) vol.69/72(2015)
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