19세기 중국의 반봉건적 여성의식과 시각적 표현 ― 『경화연(鏡花緣)』 삽도를 중심으로 (Anti-feudalistic Perception of Women and Visual Expression in China in 19th Century : Based on Illustrations of Flowers in the Mirror Written by Li Ruzhen)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 29호 / 287 ~ 312페이지
· 저자명 : 오지영

초록

China in the 19th century was predicted to face an enormous transformation due to internal awakening of the traditional order and external shock caused by opening its ports. Amid the flow of these changes, new image of women was explored. The traditional custom that yoked women was harshly criticized, and the society experienced revolutionary changes in discourse and representation of women in early 20th century. But these changes did not suddenly come in one fell swoop. In the meantime, changes in the concept and representation of women had been accumulated. Flowers in the Mirror(鏡花緣), a novel written by Li Ruzhen(李汝珍, 1763-1830) during the first half of 19th century, flatly reflected these changes. It is very significant in that it originated the huge change in the 20th century by resolutely challenging the traditional concept of women and presenting an alternative image of women.
Illustrations of Flowers in the Mirror(wood-block printed edition in 1832/ lithography edition in 1888) advocated physical liberation of women who were yoked by traditional foot-bindings, while suggesting strong image of women who improved their own lot by breaking away weak and passive image. Overcoming the concept of tradition that regarded talentless women as a virtue, they actively praised talents of women.
On the other hand, the intention of the text was considerably faded and refracted by the artist due to the historical limitation of Chinese society in the 19th century. While the anti-feudalistic perception of women ruptured firm traditional courtesy and order, it was also denied by the society at the same time.Yet, illustrations of Flowers in the Mirror originally show that man-oriented and patriarchal discourse and representation of women were changing at the turn of the 19th century. They symbolically reflect changes in the representation of women had originated from Chinese society itself before Western discourse on women was introduced by opening ports. And we can say that it was an important clue for revolutionary change in women’s representation in the forthcoming 20th century.

영어초록

China in the 19th century was predicted to face an enormous transformation due to internal awakening of the traditional order and external shock caused by opening its ports. Amid the flow of these changes, new image of women was explored. The traditional custom that yoked women was harshly criticized, and the society experienced revolutionary changes in discourse and representation of women in early 20th century. But these changes did not suddenly come in one fell swoop. In the meantime, changes in the concept and representation of women had been accumulated. Flowers in the Mirror(鏡花緣), a novel written by Li Ruzhen(李汝珍, 1763-1830) during the first half of 19th century, flatly reflected these changes. It is very significant in that it originated the huge change in the 20th century by resolutely challenging the traditional concept of women and presenting an alternative image of women.
Illustrations of Flowers in the Mirror(wood-block printed edition in 1832/ lithography edition in 1888) advocated physical liberation of women who were yoked by traditional foot-bindings, while suggesting strong image of women who improved their own lot by breaking away weak and passive image. Overcoming the concept of tradition that regarded talentless women as a virtue, they actively praised talents of women.
On the other hand, the intention of the text was considerably faded and refracted by the artist due to the historical limitation of Chinese society in the 19th century. While the anti-feudalistic perception of women ruptured firm traditional courtesy and order, it was also denied by the society at the same time.Yet, illustrations of Flowers in the Mirror originally show that man-oriented and patriarchal discourse and representation of women were changing at the turn of the 19th century. They symbolically reflect changes in the representation of women had originated from Chinese society itself before Western discourse on women was introduced by opening ports. And we can say that it was an important clue for revolutionary change in women’s representation in the forthcoming 20th century.

참고자료

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