조선 후기 및 근대 회화의 母子像 - 신한평의 <慈母育兒>와 채용신의 <雲娘子27歲像>을 중심으로 (The Representation of Mother and Child in Late Joseon and Modern Paintings, Focusing on Sin Hanpyeong’s Affectionate Mother Caring for a Baby(Jamoyuga) and Chae Yongsin’s Portrait of Unnangja at the A)

서지정보

· 발행기관 : 국립중앙박물관
· 수록지 정보 : 미술자료 / 81호 / 81 ~ 112페이지
· 저자명 : 이원복

초록

Women have been favorite subjects of art in the East and West since the Paleolithic period. Statues of fertility goddesses such as the world-famous sculpture, the Venus of Willendorf and the Venus of Sinam, excavated in Korea, usually portray pregnant women.
There are differences in the depiction of human figures between Eastern and Western art. The realistic representation of forms is emphasized in Western art while the metaphysical transcendence of the subject is underscored in the East Asian cultural sphere. This paper is an extension of my research on the representation of female figures in Joseon paintings and my continuous study of paintings of beauties.
In this paper, Sin Hanpyeong’s(1735-after 1804) Affectionate Mother Caring for a Baby and Chae Yongsin’s(1850-1941) Portrait of Unnangjaat the Age of 27 are selected as case studies to investigate the general aesthetic taste prevalent in Confucian society during the Joseon dynasty. The former seems to present a family portrait conveying motherhood while the latter, depicting a female entertainer named Choe Yeonhong(1785-1846), can be defined as a portrait of a historical figure. The latter painting was produced to commemorate the woman’s chastity, one of the “Three Bonds and Five Relations”(Samgang Oryun) forming Confucian percepts and was enshrined in an ancestral hall.
Although portraits of kings and queens from the Unified Silla period through to the Goryeo period were painted, few portraits of women have created during the Joseon dynasty.
Female portraits in the Joseon dynasty are surprisingly rare since the Joseon dynasty’s strict Confucian gender rules did not allow male painters to observe females for portraits. Despite very limited extant artworks from the Three Kingdoms period to the Goryeo period,assumptions can be made about societal views on women based on depictions of females in Buddhist sculptures and figurative motifs on crafts. Females related to Taoism and Buddhism were the favored subject of paintings during mid- and late Joseon periods. In the eighteenth century women emerged from their status as secondary figures in previous eras to become central motifs. Also, the rendition of females changed from typical Chinese-style court ladies into Joseon-style beauties.
Sin Hanpyeong’s Affectionate Mother Caring for a Baby represents maternal love and the close relationship between mother and child. A mother’s love is one of the most enduringly appealing themes not only for figure painting but also for animal painting. The representation of women in East Asian art is imbued with the filial piety of Buddhism and the Confucian values of loyalty to the monarch and emphasis on motherhood. Thus, maternal love is represented even in animal paintings of dogs, monkeys, cows, and hens. The scene of women breastfeeding a baby appears in didactic books, Buddhist sutras, and Chinese woodblock painting manuals such as Scripture in Honor of Parental Love(Bumo eunjunggyeong),Illustrated Conduct of the Three Bonds(Samgang haengsil-do) and Illustrations of Agriculture and Sericulture of the Peiwen Studio(Kr. Paemunjae gyeongjik-do; Ch. Peiwen zhai gengzhi tu). These may have inspired the motif of a woman breastfeeding a baby frequently seen in genre painting of the late Joseon dynasty.
Chae Yongsin is one of the last portrait artists of Korea to follow traditional portraiture techniques. Chae lived from the late Joseon period through the Japanese colonial period and produced a number of portrait paintings on commission. Portrait of Unnangja at the Age of 27is a well-known painting of his. It was used as the book cover of a historic novel and was listed at the end of the book, An Illustrated Description of Joseon Historical Places(Joseon gojeok dobo). Chae Yongsin probably had to consider many things when portraying a chaste woman.
The woman fills the painting completely from top to bottom, reminding viewers of the sculpture of a Western goddess. The rendition of folds in her skirt is reminiscent of those found in a stone Buddha’s statue. Iconographically, this painting is similar to a Madonna with Baby Christ in Catholic art. The plump-faced baby looks like Taoist statues and figurines of folk religion, which is somewhat indicative of the syncretism of Confucianism, Taoism, and Buddhism blending with Christian images and thus echoing the mood of Chae Yongsin’s times.
The image of a mother and child is one of the most popular and enduring themes in art to the present day. A mother as an object of admiration and respect is representative of the female image. It took a long time before the image of women established its own status as an independent theme of visual art, evolving from fertility goddess through beauty. This is a universal phenomenon across different regions of the world.
Affectionate Mother Caring for a Baby is based on the mother figure of traditional Korean society, and Portrait of Unnangja at the Age of 27 is enshrined for worship to commemorate her chastity, one of the important Confucian virtues. These two paintings do not intend to improve the status of women but reflect a view of womanhood and the spirit and taste of the age. They are distinguished from paintings of beauties that pursue the sensuality and physical attractiveness of women.

영어초록

Women have been favorite subjects of art in the East and West since the Paleolithic period. Statues of fertility goddesses such as the world-famous sculpture, the Venus of Willendorf and the Venus of Sinam, excavated in Korea, usually portray pregnant women.
There are differences in the depiction of human figures between Eastern and Western art. The realistic representation of forms is emphasized in Western art while the metaphysical transcendence of the subject is underscored in the East Asian cultural sphere. This paper is an extension of my research on the representation of female figures in Joseon paintings and my continuous study of paintings of beauties.
In this paper, Sin Hanpyeong’s(1735-after 1804) Affectionate Mother Caring for a Baby and Chae Yongsin’s(1850-1941) Portrait of Unnangjaat the Age of 27 are selected as case studies to investigate the general aesthetic taste prevalent in Confucian society during the Joseon dynasty. The former seems to present a family portrait conveying motherhood while the latter, depicting a female entertainer named Choe Yeonhong(1785-1846), can be defined as a portrait of a historical figure. The latter painting was produced to commemorate the woman’s chastity, one of the “Three Bonds and Five Relations”(Samgang Oryun) forming Confucian percepts and was enshrined in an ancestral hall.
Although portraits of kings and queens from the Unified Silla period through to the Goryeo period were painted, few portraits of women have created during the Joseon dynasty.
Female portraits in the Joseon dynasty are surprisingly rare since the Joseon dynasty’s strict Confucian gender rules did not allow male painters to observe females for portraits. Despite very limited extant artworks from the Three Kingdoms period to the Goryeo period,assumptions can be made about societal views on women based on depictions of females in Buddhist sculptures and figurative motifs on crafts. Females related to Taoism and Buddhism were the favored subject of paintings during mid- and late Joseon periods. In the eighteenth century women emerged from their status as secondary figures in previous eras to become central motifs. Also, the rendition of females changed from typical Chinese-style court ladies into Joseon-style beauties.
Sin Hanpyeong’s Affectionate Mother Caring for a Baby represents maternal love and the close relationship between mother and child. A mother’s love is one of the most enduringly appealing themes not only for figure painting but also for animal painting. The representation of women in East Asian art is imbued with the filial piety of Buddhism and the Confucian values of loyalty to the monarch and emphasis on motherhood. Thus, maternal love is represented even in animal paintings of dogs, monkeys, cows, and hens. The scene of women breastfeeding a baby appears in didactic books, Buddhist sutras, and Chinese woodblock painting manuals such as Scripture in Honor of Parental Love(Bumo eunjunggyeong),Illustrated Conduct of the Three Bonds(Samgang haengsil-do) and Illustrations of Agriculture and Sericulture of the Peiwen Studio(Kr. Paemunjae gyeongjik-do; Ch. Peiwen zhai gengzhi tu). These may have inspired the motif of a woman breastfeeding a baby frequently seen in genre painting of the late Joseon dynasty.
Chae Yongsin is one of the last portrait artists of Korea to follow traditional portraiture techniques. Chae lived from the late Joseon period through the Japanese colonial period and produced a number of portrait paintings on commission. Portrait of Unnangja at the Age of 27is a well-known painting of his. It was used as the book cover of a historic novel and was listed at the end of the book, An Illustrated Description of Joseon Historical Places(Joseon gojeok dobo). Chae Yongsin probably had to consider many things when portraying a chaste woman.
The woman fills the painting completely from top to bottom, reminding viewers of the sculpture of a Western goddess. The rendition of folds in her skirt is reminiscent of those found in a stone Buddha’s statue. Iconographically, this painting is similar to a Madonna with Baby Christ in Catholic art. The plump-faced baby looks like Taoist statues and figurines of folk religion, which is somewhat indicative of the syncretism of Confucianism, Taoism, and Buddhism blending with Christian images and thus echoing the mood of Chae Yongsin’s times.
The image of a mother and child is one of the most popular and enduring themes in art to the present day. A mother as an object of admiration and respect is representative of the female image. It took a long time before the image of women established its own status as an independent theme of visual art, evolving from fertility goddess through beauty. This is a universal phenomenon across different regions of the world.
Affectionate Mother Caring for a Baby is based on the mother figure of traditional Korean society, and Portrait of Unnangja at the Age of 27 is enshrined for worship to commemorate her chastity, one of the important Confucian virtues. These two paintings do not intend to improve the status of women but reflect a view of womanhood and the spirit and taste of the age. They are distinguished from paintings of beauties that pursue the sensuality and physical attractiveness of women.

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