ScholarWorks@숙명여자대학교

초록

Beauty painting of the late Joseon Dynasty developed gisaeng, whose role and significance had gradually been increasing in genre painting and documentary painting within the current of East Asian trends, into an independent topic. As well, beauty painting developed its own Korean style when Shin Yun-bok’s Portrait of a Beauty presented a gisaeng in portraiture with no background. From the perspective of relationship among East Asian paintings, beauty painting of the late Joseon Dynasty was more or less impacted by Chinese painting of women, illustrations in popular literature such as novels and plays, and art books, as well as Ukiyo-e beauty painting of Japan's Edo Period. Particularly, not only was the beauty painting prevalent during Ukiyo-e of the Edo Period, mass production was also available, leading to conjecture that its inflow to Joseon could have stimulated the writers, court artists and middle-class artists’ conception of painting and their works. Having both direct and indirect effects on the Joseon Dynasty’s painting, this seems to have played a significant role in transitioning from the late Joseon Dynasty’s genre painting to the independent beauty painting. Hence, this paper attempts to examine the background of how beauty painting of the late Joseon Dynasty was established while comparing and studying genre painting of beauties and beauty painting of the late Joseon Dynasty with Ukiyo-e beauty painting of Edo Period from the perspective of relationship among East Asian paintings. Genre painting of beauties of the late Joseon Dynasty bears similarities to not only Ukiyo-e illustrations of Edo Period, but also those in popular literature of China’s Ming and Qing Dynasties in topics of merrymaking culture and affectionate actions between men and women, spatial compositions, positioning and poses of the figures and how and where their eyes are fixed. As well, beauty painting of the late Joseon Dynasty displays common elements with Ukiyo-e beauty painting in terms of the process of transitioning to the independent beauty painting, the form of ‘a lone woman standing without a background’, poses and expressions of the figures, etc. Based on these, this paper surmises that beauty painting of the late Joseon Dynasty was influenced by Ukiyo-e beauty painting of Japan, as well as illustrations in popular literature of China’s Ming and Qing Dynasties.

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