베트남 민화(民畵)에 관한 연구: 주요 5개 지역의 민화를 중심으로 (A Study on Vietnamese Folk Paintings: Focusing on five major regions)

서지정보

· 발행기관 : 한국외국어대학교 동남아연구소
· 수록지 정보 : 동남아연구 / 33권 / 3호 / 3 ~ 34페이지
· 저자명 : 김현재

초록

This article focuses on Vietnamese folk paintings. Vietnam is geographically adjacent to China and has been significantly influenced by Chinese culture, belonging to the Confucian cultural sphere and Chinese character cultural sphere. Therefore, it can be easily speculated that Vietnamese folk paintings, like those in Korea, have been heavily influenced by Chinese folk paintings. The paper explores the origin, types, and production techniques of Vietnamese folk paintings as a research topic, deriving unique characteristics and implications of Vietnamese folk paintings.
Through this research, it was confirmed that the first Vietnamese folk paintings were produced in the Dong Ho village near Hanoi. The origin of these paintings dates back to the Ming Dynasty of China. The influx of Chinese folk paintings into Vietnam is estimated to have occurred before the 11th century, mainly in the Hanoi region.
Since the influx of Chinese folk paintings into Vietnam was centered around Hanoi, the main production areas of folk paintings are identified as Hang Trong, Kim Hoang, and the nearby Dong Ho regions in Hanoi. Among these, Dong Ho and Hang Trong paintings are characterized by their production of monochrome or polychrome wood-block print, resulting in relatively small sizes. Dong Ho paintings, in particular, depict a simple and rustic feel, focusing on the lives and spiritual worlds of peasants, resembling traditional Chinese folk paintings.
On the other hand, Kim Hoang paintings use colored paper, with inscriptions and talismans placed in the upper part or margins of the paintings. Therefore, they provide a distinctly different feeling compared to paintings from other regions. Hang Trong paintings, located in downtown Hanoi, are produced exclusively using the half-in-half-out technique, resulting in more vibrant and delicate colors, giving a more luxurious impression. Moreover, they have a larger proportion of ceremonial paintings compared to Dong Ho and Hang Trong paintings, which are primarily decorative.
Additionally, there are paintings from the northern mountainous regions inhabited by ethnic minorities. These paintings are created by painting the entire canvas with a brush and using coloring techniques. They are exclusively used for ceremonial purposes, considered sacred, and stored carefully for long periods, only brought out for rituals. These paintings depict various gods and spirits of the ethnic minorities in a single frame and have a characteristic elongated form.

영어초록

This article focuses on Vietnamese folk paintings. Vietnam is geographically adjacent to China and has been significantly influenced by Chinese culture, belonging to the Confucian cultural sphere and Chinese character cultural sphere. Therefore, it can be easily speculated that Vietnamese folk paintings, like those in Korea, have been heavily influenced by Chinese folk paintings. The paper explores the origin, types, and production techniques of Vietnamese folk paintings as a research topic, deriving unique characteristics and implications of Vietnamese folk paintings.
Through this research, it was confirmed that the first Vietnamese folk paintings were produced in the Dong Ho village near Hanoi. The origin of these paintings dates back to the Ming Dynasty of China. The influx of Chinese folk paintings into Vietnam is estimated to have occurred before the 11th century, mainly in the Hanoi region.
Since the influx of Chinese folk paintings into Vietnam was centered around Hanoi, the main production areas of folk paintings are identified as Hang Trong, Kim Hoang, and the nearby Dong Ho regions in Hanoi. Among these, Dong Ho and Hang Trong paintings are characterized by their production of monochrome or polychrome wood-block print, resulting in relatively small sizes. Dong Ho paintings, in particular, depict a simple and rustic feel, focusing on the lives and spiritual worlds of peasants, resembling traditional Chinese folk paintings.
On the other hand, Kim Hoang paintings use colored paper, with inscriptions and talismans placed in the upper part or margins of the paintings. Therefore, they provide a distinctly different feeling compared to paintings from other regions. Hang Trong paintings, located in downtown Hanoi, are produced exclusively using the half-in-half-out technique, resulting in more vibrant and delicate colors, giving a more luxurious impression. Moreover, they have a larger proportion of ceremonial paintings compared to Dong Ho and Hang Trong paintings, which are primarily decorative.
Additionally, there are paintings from the northern mountainous regions inhabited by ethnic minorities. These paintings are created by painting the entire canvas with a brush and using coloring techniques. They are exclusively used for ceremonial purposes, considered sacred, and stored carefully for long periods, only brought out for rituals. These paintings depict various gods and spirits of the ethnic minorities in a single frame and have a characteristic elongated form.

참고자료

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