붓 끝에 쏟아낸 울분 -여항문인화가 조희룡의 삶과 예술- (Resentment Expressed Through Painting - Jo Heeryong's Life and Art as a Common Literary Painter)

서지정보

· 발행기관 : (사)한국인물사연구회
· 수록지 정보 : 한국인물사연구 / 19호 / 179 ~ 219페이지
· 저자명 : 이선옥

초록

This study looks into the life and art of Jo, Heeryong(趙熙龍, 1789～1866) who led the literary trend of the 19th century as a common painter, focusing on his resentment to society. He was completely aware of his status belonging to the commoners. The commoners were actively engaged in writing poetry centering on Byeokosa(碧梧社) which was a place for literary activity club, and the common literary painters were the center of the club.
Jo Heeryong emphasized independent meaning of painting art and special talents of specialized painters based on ‘The Theory of Handcraft’ Suyeron(手藝論). Also, he had a unique point of view on art which suggests true representation of individuality based on Seongryong Theory(性靈論). He put more emphasis on expression of painter's feeling rather than style while adhering to Namjong Literary Painting Style(南宗文人畵), and spoke for a new tendency of Joseon painting circle in the 19th century as he had the unique point of view on painting while pursuing for a free painting style.
His resentment as a commoner became energy for his art. It inspired him to think freely for his painting and pain caused by exile became an important chance to deepen his life and art. He sublimed painful experience of the exile as a commoner into art and created masterpieces during the exile. His painting style influenced painters of the time and led the 19th century painting circle to dynamic and esthetic painting world.
His writing revealed depressed feeling as a commoner. In particular, he wrote『Hosan Ouiki(壺山外記)』, a collection of biographies of common people who were unknown though they were talented, through which he told their achievements. It has a great meaning in that he promoted his resentment caused by status differentiation to one of social issues.

영어초록

This study looks into the life and art of Jo, Heeryong(趙熙龍, 1789～1866) who led the literary trend of the 19th century as a common painter, focusing on his resentment to society. He was completely aware of his status belonging to the commoners. The commoners were actively engaged in writing poetry centering on Byeokosa(碧梧社) which was a place for literary activity club, and the common literary painters were the center of the club.
Jo Heeryong emphasized independent meaning of painting art and special talents of specialized painters based on ‘The Theory of Handcraft’ Suyeron(手藝論). Also, he had a unique point of view on art which suggests true representation of individuality based on Seongryong Theory(性靈論). He put more emphasis on expression of painter's feeling rather than style while adhering to Namjong Literary Painting Style(南宗文人畵), and spoke for a new tendency of Joseon painting circle in the 19th century as he had the unique point of view on painting while pursuing for a free painting style.
His resentment as a commoner became energy for his art. It inspired him to think freely for his painting and pain caused by exile became an important chance to deepen his life and art. He sublimed painful experience of the exile as a commoner into art and created masterpieces during the exile. His painting style influenced painters of the time and led the 19th century painting circle to dynamic and esthetic painting world.
His writing revealed depressed feeling as a commoner. In particular, he wrote『Hosan Ouiki(壺山外記)』, a collection of biographies of common people who were unknown though they were talented, through which he told their achievements. It has a great meaning in that he promoted his resentment caused by status differentiation to one of social issues.

참고자료

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