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다국어 초록 (Multilingual Abstract)

In the periods of the king Young Jo and Jeong Jo (1725-1800), We＾n - je＾n hua(文人畵) and Southern School Painting(南宗畵) had become to be in fashion instead of Che School Painting Sytle(浙派畵風) which had been popular since the middle of Choso˘n Dynasty (1550-1700). Landscape Painting(風俗畵) as well as Real Landscape Painting(眞景山水畵), which was a peculiar painting style for expressing the real features of mountains and rivers in Korea on the basis of Southern School Painting(南宗畵), were also prosperous at that time. Around this period, the paintings of She＾ng Tsu(康熙) and Kao Tsung(乾隆) and the art of western drawing were sent down to Korea from China and be partly adopted. The time of king Young Jo and Jeong Jo, acquired the unique progress in Korean painting history, and the colored flowers and birds paintng is the main subject of this thesis. The colored flowers and birds painting around that period showed two tendencies; one was the form of Hua-pu(畵譜形式) introduced by Chinese books brought in through the Peking ebvoy trip(燕行), and the other was the form of sketching from nature(寫生形式) reflecting the Realism Thought(實學思想) which was prevalent at that time.
Around the 18th century, the Korean painters were either merely imitating Hua-pu(畵譜) come from China or transfiguring it into the Icon Form(圖像形式) of the flowers and birds painting. On the other hand, the form of sketching from nature, which was to draw birds in real natrure as a subject in order to coincide with the trend of the Realism Thought, appeared in the flowers and birds painting. This thesis investigates the painting style, the method of ts'un(준), and the composition of painting and coloring in the flowers and birds painting which had been done before the 18th century, and analyses the stylistic character of the colored flowers and birds painting in the period of the king Young Jo, and Jeong Jo.
The first part is to find the examples of the colored flowers and birds painting which was seen around the time of the early Choso˘n period(1392-1550), and the second part will discuss about the historical background of the time of the king Young Jo and Jeong Jo as well as the process of the style of the colored flowers and birds painting before that period and the representative style of the colored flowers and birds painting in India Ink in the middle of Choso˘n Dynasty.
The third part will explain the form of Hua-pu and the form of sketching from nature and illustrate twenty two painters related to the colored flowers and birds painting at the same time with comparing their form to the icon of Chinese Hua-pu. The fourth part will examine the Peking envoy trip and Hua-pu come from China (T'ang-Shih huap'u 『唐詩畵譜』, Shih-chu-chai shu-huap'u 『十竹齋書畵譜』 and Kai-tzu-yuan huachuan 『芥子園畵傳』 are the three classes of Hua-pu used for the comparison of the icons in this thesis) so as to know the connedtion between the influx of Chinese Hua-pu and the colored flowers and birds painting in the late Choso˘n(1700-1850). And also the relationship of the flowers and birds painting of China with that of the period of the king Young Jo and Jeong Jo will be discussed.
The fifth part is to see the stylistic character of the colored flowers and birds painting in the time of the king Young Jo and Jeong Jo and illustrate the works chronologically which went through three stages of stylistic change; 1) the early Hua-pu style in the colored flowers and birds painting(畵譜樣式初期의 彩色花鳥畵) 2) the form of compromise of Southern and Northern School in the colored flowers and birds painting(南·北宗折衷樣式의 彩色花鳥畵) 3) the form of sketching from nature of Choso˘n in the colored flowers and birds painting(朝鮮寫生樣式의 彩色花鳥畵). And the connection between the literary painters(文人畵家) and professional painters(畵員) is to be said.
The sixth part is to discuss the influence of the colored flowers and birds painting in the time of the king Young Jo and Jeong Jo to the time of the late Choso˘n(1850-1910), which can be divided into two styles; 1) elaborate·private ownership of the flowers and birds painting(細密·寫意花鳥畵) 2) the unique flowers and birds painting(異色花鳥畵). The seventh part is to examine the significance, meaning and character of the colored flowers and birds painting in Korean painting history.
In this thesis the similarity and difference between the icon of Chinese Hua-pu and that of the colored flowers and birds painting in the time of the king Young Jo and Jeong Jo will be demonstrated together with the influence of the Chinese style. The main points of the colored flowers and birds painting in the period of the king Young Jo and Jeong Jo are 1) the regular adaptation of Southern School Painting 2) the form of compromise of Southern and Northern School 3) the expression of the perspective and shading 4) the increasing use of coloring (thin coloring) 5) the colored flowers and birds painting of Hua-pu style 6) the style of sketching from nature in the colored flowers and birds painting.

목차 (Table of Contents)

◇차례◇
Ⅰ. 머리말 = 1
Ⅱ. 英·正祖時代 배경과 以前花鳥畵 = 5
Ⅲ. 英·正祖時代彩色花鳥畵의 形式 = 16
1. 畵譜形式 = 16

◇차례◇
Ⅰ. 머리말 = 1
Ⅱ. 英·正祖時代 배경과 以前花鳥畵 = 5
Ⅲ. 英·正祖時代彩色花鳥畵의 形式 = 16
1. 畵譜形式 = 16
2. 寫生形式 = 37
Ⅳ. 朝鮮後期中國畵譜 유입과 英·正祖時代彩色花鳥畵 = 48
1. 燕行使를 통한 中國畵譜의 流入 = 48
1) 연행사의 入燕 = 48
2) 중국 화보의 유입 = 52
2. 中國花鳥畵와 英·正祖時代彩色花鳥畵의 관계 = 60
Ⅴ. 英·正祖時代彩色花鳥畵의 樣式特徵과 變遷 = 67
1. 樣式特徵 = 67
2. 樣式變遷 = 72
Ⅵ. 英·正祖時代彩色花鳥畵가 後代花鳥畵에 미친 영향 = 82
1. 細密· 寫意花鳥畵에 미친 영향 = 82
2. 異色花鳥畵에 미친 영향 = 85
Ⅶ. 英·正祖時代彩色花鳥畵의 繪畵史的意義 = 89
Ⅷ. 맺음말 = 93
【參考文獻】 = 96
ABSTRACT = 100
【圖版目錄】 = 104
【圖版】 = 108

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英ㆍ正組時代彩色花鳥畵의 硏究 = (A) Research on Colored the flowers and brids painting in the king Young Jo and Jeong Jo periods of Chos n Dynasty

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英ㆍ正組時代 彩色花鳥畵의 硏究 = (A) Research on Colored the flowers and brids painting in the king Young Jo and Jeong Jo periods of Chos n Dynasty

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英ㆍ正組時代彩色花鳥畵의 硏究 = (A) Research on Colored the flowers and brids painting in the king Young Jo and Jeong Jo periods of Chos n Dynasty