ScholarWorks@숙명여자대학교

초록

Beauty paintings of the late Joseon Dynasty is a genre established during the late Joseon Dynasty under the tradition of paintings of women introduced from China following the development of genre paintings based on realism and within the relations among beauty paintings in East Asia of the same period. From the perspective of relationship of East Asian paintings, beauty paintings of the late Joseon Dynasty were influenced not only by general paintings such as Chinese paintings of women, but also books such as art books and novels that contained illustrations and Ukiyo-e of the Japanese Edo Period. Especially, popular literary works that migrated from China at the time secured a wider readership due to public popularity and as a result, the illustrations in popular literature may have also expanded in its public perception. The public spread of illustrations in popular literature along with the expansion of Chinese literature readership stimulated the general public’s perception of paintings as well as court artists and middle-class artists and had a certain degree of influence on styles of painting during the late Joseon Dynasty. The fact that materials and spatial compositions were accepted as various topics in genre paintings of beauties during the late Joseon Dynasty is considered to have played a significant factor in transitioning into the separate genre of beauty paintings. Accordingly, this paper compares and studies paintings of women produced domestically, genre paintings of beauties represented by Shin Yun-bok’s Haewon Jeonshinchup and beauty paintings of the late Joseon Dynasty with illustrations in popular literature of China’s Ming and Qing Dynasties. Paintings of women demonstrate similarities in materials and spatial compositions, clothing and poses of the figures and objects that appear, resulting in a surmise that a variety of illustrations in popular literature were introduced and spread to offer icons in close parallels. Genre paintings of beauties display similarities to illustrations in Ming and Qing popular literature in topics of merrymaking culture and affectionate actions between men and women, spatial compositions, positioning and poses of the figures and expression of colors. Finally, beauty paintings of the late Joseon Dynasty call for further study of the relation with illustrations in Ming and Qing popular literature based on elements that bear similarities, including the form of ‘a lone woman standing without a background’, poses of the figures and the ornamental element of flowers. Therefore, despite the fact that paintings of women had been introduced to Joseon since the Unified Silla Period, one of the factors that may have affected the late Joseon Dynasty’s beauty paintings in the form of ‘a lone woman standing without a background’ to finally appear and settle in the 18th century and early 19th century could be reasoned with the mass introduction of illustrations in popular literature with considerable influence during the late Joseon Dynasty. Meanwhile, illustrations in popular literature of Ming and Qing Dynasties show correlations with Ukiyo-e of the Edo Period in terms of materials and spatial compositions, supporting presumption that illustrations in popular literature of Ming and Qing Dynasties and Ukiyo-e of the Edo Period were communicated in the paintings of East Asia and further indicating potential relations between beauty paintings of the late Joseon Dynasty and Ukiyo-e of the Edo Period.

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