19세기 남성문인의 미인도 감상 — 재덕을 겸비한 미인상 추구를 중심으로 (Appreciation of Painting of the Beauty in the Nineteenth Century of Joseon Dynasty - In the Pursuit of the Beauty with Artistic or Literary Talents)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 26호 / 41 ~ 68페이지
· 저자명 : 고연희

초록

Some Paintings of the beauty in the nineteenth century of Joseon depict beautiful Chinese ladies who are famous for their artistic or literary turns. These paintings would be on a different track from the other popular stream of paintings of the beauty in Korean costume without any talents or virtue. Appellation of ‘yosa(女史)’ or female recording secretary in ancient palaces, was used for calling a comtemporary lady who has talent of writing and painting by Joseon scholars at that time. This appellation reflects the pursuit of the image of talented beauties at the same time.
Sin Wi(申緯), a poet and scholar in the nineteenth century of Joseon, was interested in the painting of the beauty and composed many poems on that kind of paintings. One of his poem is on The Twelve Beauties, which is painted by his son, Sin Myong-yon(申命衍). The Twelve Beauties is composed of ten ladies selected among ancient Chinese girls who had literary and artistic talents. Sin’s selection is different from the Chinese setting of the beauty for painting at that time, in that Sin picked up women of literary, artistic and virtuous merits like Tangshan(唐山夫人) and ruled out well-known beautiful ladies like Yangguibei or Zhofeiyan. Sin Wi especially preferred image of “reading lady” usually unidentified. Writing poems about the image of reading lady, Sin Wi enjoyed searching for her name as recollecting the names of the ladies in Chinese literatures.
Elites’ fondness of paintings of the talented Chinese beauty clearly revealed in the paintings of several beauties by Yi Jae-kwan(李在寬). Yi’s paintings show famous Chinese women, like Xuetao(薛濤) well-known for her paper and her poem, Nongyu(弄玉) famous as a player of Chinese flute, Hongxian(紅線) favored by Joseon scholars as an attractive female character who saved her man with her martial arts and Hongfu(紅拂) who showed her strong trueness. These talented women provided ideal and fantastic images of the beauty to scholars of the late Joseon.
Hankering for the imagery of beautiful, talented and classical Chinese girls in the paintings of the late Joseon would not be interpreted as conservatism or cultural toadyism.
It would rather be evaluated as a cultural phenomenon which is connected to appearance of female professional artists called as yosa in the early twentieth century.

영어초록

Some Paintings of the beauty in the nineteenth century of Joseon depict beautiful Chinese ladies who are famous for their artistic or literary turns. These paintings would be on a different track from the other popular stream of paintings of the beauty in Korean costume without any talents or virtue. Appellation of ‘yosa(女史)’ or female recording secretary in ancient palaces, was used for calling a comtemporary lady who has talent of writing and painting by Joseon scholars at that time. This appellation reflects the pursuit of the image of talented beauties at the same time.
Sin Wi(申緯), a poet and scholar in the nineteenth century of Joseon, was interested in the painting of the beauty and composed many poems on that kind of paintings. One of his poem is on The Twelve Beauties, which is painted by his son, Sin Myong-yon(申命衍). The Twelve Beauties is composed of ten ladies selected among ancient Chinese girls who had literary and artistic talents. Sin’s selection is different from the Chinese setting of the beauty for painting at that time, in that Sin picked up women of literary, artistic and virtuous merits like Tangshan(唐山夫人) and ruled out well-known beautiful ladies like Yangguibei or Zhofeiyan. Sin Wi especially preferred image of “reading lady” usually unidentified. Writing poems about the image of reading lady, Sin Wi enjoyed searching for her name as recollecting the names of the ladies in Chinese literatures.
Elites’ fondness of paintings of the talented Chinese beauty clearly revealed in the paintings of several beauties by Yi Jae-kwan(李在寬). Yi’s paintings show famous Chinese women, like Xuetao(薛濤) well-known for her paper and her poem, Nongyu(弄玉) famous as a player of Chinese flute, Hongxian(紅線) favored by Joseon scholars as an attractive female character who saved her man with her martial arts and Hongfu(紅拂) who showed her strong trueness. These talented women provided ideal and fantastic images of the beauty to scholars of the late Joseon.
Hankering for the imagery of beautiful, talented and classical Chinese girls in the paintings of the late Joseon would not be interpreted as conservatism or cultural toadyism.
It would rather be evaluated as a cultural phenomenon which is connected to appearance of female professional artists called as yosa in the early twentieth century.

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