ScholarWorks@숙명여자대학교

초록

In addition to his well-known paintings of genre, figures, and landscapes, Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754~1822) left behind Flower-and-Animal Paintings that demonstrate his outstanding skills, encompassing a wide range of various topics such as flowers and birds, plants and insects, animals, vegetables and fruits, and the Four Gracious Plants. While few paintings of his early style remain, some of his Flower-and-Animal Paintings have been identified as early- and mid-period works, providing valuable clues to the development of his style. Following this identification, this article seeks to comprehensively understand Kim Deuk-shin's Flower-and-Animal Paintings by categorizing them into early and late styles based on components such as his pen names, “Hongwolheon (弘月軒)” and “Geungjae (兢齋),” brushwork, and coloring, as well as examining their origins, formative factors, and stylistic characteristics. Recognition of Kim Deuk-shin’s Flower-and-Animal Paintings by the contemporary art community is evident in the records of Ehyanggyunmunrok (里鄕見聞錄), the evaluation by Popyumdeungje (褒貶等第), and the performance in Nokchuijae. This is also confirmed by his existing works, which skillfully depict a wide range of subjects, including magpies, swallows, hawks, golden pheasants, ducks, rabbits, tigers, falcons, and bamboo. Although his early style creates a simple and lyrical atmosphere through simple strokes and soft light colors, the simple overall composition and formatted screen composition reveal stylistic characteristics based on paintings. This shows the possibility that he was directly influenced by paintings of flowers and birds from China or indirectly influenced by senior painters such as Jeong Seon, Sim Sa-jeong, and Kang Se-hwang who adopted these and created paintings of flowers and birds. On the other hand, the later style adopts the painting style of Kim Hong-do’s, a senior painter at the Dohwaseo, and skillfully handles the thickness and density of ink, showing a variety of painting styles, from royal court painting style Gongpilchaesaekhwa to literary painting style Sauihwa. Moreover, Kim Deuk-shin breaks away from the previous monotonous composition and infuses space and three-dimensionality by using different structures and dense compositions, fully conveying the vitality and poetic sentiment of the nature. His works not only represent the artistic style of late Joseon Dynasty painters, but also inspire later generations of painters and contribute to the spread of Joseon paintings in Japan.

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