朝鮮 末期 畵員 琳塘 白殷培의 生涯와 繪畵 (Imdang Baek Eunbae’s Life and His Works)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 25호 / 397 ~ 426페이지
· 저자명 : 박준영

초록

The purpose of this thesis is to study Imdang Baek Eunbae’s 白殷培(1820-1901)life and his works. Imdang Baek Eunbae was Korean court painter in the terminal period of the Joseon dynasty(1850~1910). Although he has been estimated as one of the most representative major court painter, his life and works are never studied yet. So this study aims at proper understanding his life and works.
Baek Eunbae was born in Imcheon Baek family, which had been one of the most representative major court painters’ families. Imcheon Baek family extended its painting work through marrying some other major court painters’ families such as Jeonju Lee family and Gaesung Kim family. He was born in 1820, and had served a major court painter for 57 years, and died in 1901 at the age of 82. His working period can be divided into two phases the first half and the second half. He reached the first grade government position after faithfully fulfilling his official duties instead of devoting himself to painting works during the second half, whereas he had joined various court painting works during the first half. He used to associate with various artists and scholars such as the major court painters from Imcheon Baek family, his colleagues in Dohwaseo 圖畵書(i.e. the government office of painting work), Kim Jeonghui followers, interpreters joining the trades with the Qing dynasty and middle-people literati. Baek Eunbae left various types of pictures like figures painting, flowers and birds, landscapes. In his figure paintings, he was outstanding in ‘Daoist genre paintings’. He was under the strong influence from his seniors like Kim Hongdo, Kim Deuksin and Lee Sumin on the first half, and influenced by Chinese paintings from Shanghai or Yangzhou regions on the second half. In bird and flower paintings, he drew lightcolored sensuous paintings under the influence from his seniors like Kim Hongdo, Lee Sumin and referring to the previous picture albums on the first half, and on second half influenced by Chinese paintings same as his figure paintings. In Landscape, he inherited landscape painting style from late Joseon dynasty like senior painters’ style, painting albums, painting in the literary artist’s style and true view landscape on the first half, and he left landscape painting in the style of four famous court painters surnamed Wang of the Qing dynasty in fashion at that time on the second half. In his paintings, painting style like subjects, compositions, color sense, seals and type of drawing paper become changed during the second half. It seems that these changes were caused by the temporal alternation of a style of painting which intended to meet the consumers’ taste at that time, when the belief for praying fortune became spread because of the precarious atmosphere in the society, the social tendency preferring pictures and writings was in fashion. It is assumed that most of the consumers who ordered Baek Eunbae to produce his works were middle-people literati, judging from his companionship. They were interested in the culture and paintings from Shanghai Thus,this fact may support that the brush of Baek Eunbae in his second half was inspired from the Chinese paintings that he dipped into thanks to his friends. Sequentially, his paintings influenced on his juniors.
In conclusion, Baek Eunbae played an important role as both a successor of the traditional painting art and a mediator who amalgamated the previous tradition with the new current at that time. His works can be good examples fully reflecting not only the style of paintings in the terminal period of the Joseon dynasty but also the circumstantial recognition by other colleague painters of his in the same age. Considering these points, it is reasonable and persuasive enough to regard Baek Eunbae as a representative major court painter in the terminal period of the Joseon dynasty.

영어초록

The purpose of this thesis is to study Imdang Baek Eunbae’s 白殷培(1820-1901)life and his works. Imdang Baek Eunbae was Korean court painter in the terminal period of the Joseon dynasty(1850~1910). Although he has been estimated as one of the most representative major court painter, his life and works are never studied yet. So this study aims at proper understanding his life and works.
Baek Eunbae was born in Imcheon Baek family, which had been one of the most representative major court painters’ families. Imcheon Baek family extended its painting work through marrying some other major court painters’ families such as Jeonju Lee family and Gaesung Kim family. He was born in 1820, and had served a major court painter for 57 years, and died in 1901 at the age of 82. His working period can be divided into two phases the first half and the second half. He reached the first grade government position after faithfully fulfilling his official duties instead of devoting himself to painting works during the second half, whereas he had joined various court painting works during the first half. He used to associate with various artists and scholars such as the major court painters from Imcheon Baek family, his colleagues in Dohwaseo 圖畵書(i.e. the government office of painting work), Kim Jeonghui followers, interpreters joining the trades with the Qing dynasty and middle-people literati. Baek Eunbae left various types of pictures like figures painting, flowers and birds, landscapes. In his figure paintings, he was outstanding in ‘Daoist genre paintings’. He was under the strong influence from his seniors like Kim Hongdo, Kim Deuksin and Lee Sumin on the first half, and influenced by Chinese paintings from Shanghai or Yangzhou regions on the second half. In bird and flower paintings, he drew lightcolored sensuous paintings under the influence from his seniors like Kim Hongdo, Lee Sumin and referring to the previous picture albums on the first half, and on second half influenced by Chinese paintings same as his figure paintings. In Landscape, he inherited landscape painting style from late Joseon dynasty like senior painters’ style, painting albums, painting in the literary artist’s style and true view landscape on the first half, and he left landscape painting in the style of four famous court painters surnamed Wang of the Qing dynasty in fashion at that time on the second half. In his paintings, painting style like subjects, compositions, color sense, seals and type of drawing paper become changed during the second half. It seems that these changes were caused by the temporal alternation of a style of painting which intended to meet the consumers’ taste at that time, when the belief for praying fortune became spread because of the precarious atmosphere in the society, the social tendency preferring pictures and writings was in fashion. It is assumed that most of the consumers who ordered Baek Eunbae to produce his works were middle-people literati, judging from his companionship. They were interested in the culture and paintings from Shanghai Thus,this fact may support that the brush of Baek Eunbae in his second half was inspired from the Chinese paintings that he dipped into thanks to his friends. Sequentially, his paintings influenced on his juniors.
In conclusion, Baek Eunbae played an important role as both a successor of the traditional painting art and a mediator who amalgamated the previous tradition with the new current at that time. His works can be good examples fully reflecting not only the style of paintings in the terminal period of the Joseon dynasty but also the circumstantial recognition by other colleague painters of his in the same age. Considering these points, it is reasonable and persuasive enough to regard Baek Eunbae as a representative major court painter in the terminal period of the Joseon dynasty.

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