20세기 중국의 工筆花鳥畵와 일본 미술

배원정(裴原正) 미술사연구회 2016 미술사연구 Vol.- No.31

The genre of f lower and bird painting in the gongbi (工筆) style was led by Chen Zhifu (1896~1962) of Zhejiang, in southern China, and Yu Feian (1888-1959) of Beijing, in the north of the country, to the extent where the phrase “Chen in the south and Yu in the north” (南陳北于) was coined. Meanwhile, recent progress in the study of Liu Kuiling (1885~1967) has served to highlight his importance. It can be said that these three artists effectively led the field of 20th-century Chinese gongbi flower and bird painting. As the first generation of modern Chinese painters of the genre, each of the three formed his own school and remains influential today. Gongbi flower and bird paintings are colorful works painted using slender brush strokes. This genre endured a long period of exclusion and stagnation from the Yuan dynasty, when scholar artists became dominant and gongbi flower and bird paintings were eclipsed by those painted in the freehand, suggestive xieyi (寫意) style. In fact, gongbi flower and bird paintings, a non-mainstream genre, only survived due to popular demand for them as decoration for craft items. Within this broad historical context of flower and bird paintings, gongbi versions began receiving attention, for the first time since the Song dynasty, in conjunction with the coexistence of conservatism and innovation that characterized Chinese painting in the 20th century. There are various reasons for the new styles and techniques introduced to gongbi flower and bird paintings amid this new attention, but this study determines that one of the most significant factors was a process of artistic negotiation with Japan. Chen Zhifu"s period of study in Japan, and the designs he learned there, played a decisive role in forming his gongbi flower and bird painting style, while Yu Feian and Liu Kuiling were able to encounter Japanese art at joint Chinese-Japanese exhibitions held at the time. Chen, Yu and Liu each ref lected Japanese painting styles differently in their works, in terms of subject matter, technique and composition. The appearance of previously absent animal paintings tells us that examination of this genre, once thought to have been produced only by painters of the Lingnan School, must now also be extended to include the treaty port of Tianjin. Meanwhile, Chen showed signs of direct influence from Japan, borrowing unaltered elements from Japanese painting albums. The study also examines how the tarashikomi technique, a major characteristic of Japanese flower and bird painting, was used and transformed by all three artists. Further inf luence from Japanese techniques was also found throughout other aspects of Chinese gongbi flower and bird paintings, including depiction of animal fur and print-style flowers. It can be said that Japanese influence generally came in the form of decorative elements from the Rinpa school the painting style of the Kyoto school, itself descended from the Maruyama-Shijō school. The author was also able to perceive influence from painters who graduated Tokyo School of Fine Arts, founded Japan Art Institute and developed the Sin-nihonga Movement. This gives a sense that comprehensive study of the character of color gongbi paintings in East Asia, and of related exchange between China, Korea and Japan, is needed.

魁星 圖像의 기원과 전개

배원정 국립중앙박물관 2013 미술자료 Vol.- No.84

Kui Xing(魁星) is a deity created by the intense wish of literary men who were taking a state exam in ancient China. It was originally just a part of an astronomical constellation, but the brutal state exam system of Ming Dynasty gave birth to it. In other words, a new icon was born out of the desire of literary men that wanted a specific image of deity to wish for their successful passing in the state exam. Kui Xing presents a unique case of creating an icon with the meanings and sounds of letters and then pictorializing them. The icon of Kui Xing, which is still loved today, was the result of a combination between the imagination of people to specifically embody their strong wish for passing the state exam those days and the resulting symbolism of significance. It is not clear exactly when its icon was created, but it is very likely, given the records and remaining artifacts, that it was created, established, or full-blown during Ming Dynasty after years of mere existence. It was during Ming Dynasty that the state exam system of China came in full scale true to its name. It should not be a coincidence that the image of Kui Xing was established during the period. The faith and icon of Kui Xing started to spread and grow among the literary men at an alarming pace during Ming Dynasty. Their influences have been so great that they have continued on through Qing Dynasty, early modern days, and even contemporary times. Researches on Kui Xing, however, remain at the level of concept arrangement as a deity of Taoism or a folk deity in spite of its huge importance. The icon of Kui Xing established during Ming Dynasty was created as a complete work by major artists such as Ding Yunpeng and Gao Qipei. It was then popularized and became universal via such publications as Sancaituhui. In Qing Dynasty, the icon of Kui Xing was transformed into a much more comprehensive object of faith to be used in a religious ceremony beyond its original significance of bringing luck to pass an exam. Painting of Kui Xing by Ma Dezhao at the end of Qing Dynasty is an example of the Kui Xing icon's universalization and popularization to the extreme across many different dimensions including form, style, and meaning. Its influence is so immense that it is widely used in the study rooms of Chinese examinees today. In Joseon where there was no brutal state exam culture like the case of China, the icon of Kui Xing itself had a difficult time inducing favorable responses from people. There are rare cases of the icon in South Korea such as Painting of Lei Gong at the National Museum of Korea, which suggest that it must have been introduced to Joseon as a theme for painting separate from its character and functions in China. There is no doubt that most literary men were exposed to the icon of Kui Xing since they were eager to rise in the world and gain fame. Kui Xing is a great case to demonstrate how social needs would affect the icons and styles of artistic works. It is such an interesting icon that clearly reflects how an image created by a need would change over time in addition to the rich imagination and minuteness of people those days. It is also an important example of relations between character and image and between character and art.

역사학 : 고려시대궁중회화(高麗時代宮中繪畵)의 성격(性格)과 특징(特徵)

배원정 대구가톨릭대학교 인문과학연구소 2010 인문과학연구 Vol.0 No.14

Goryeo paintings do not remain in big numbers, and even the remaining few do not have definite creation dates or authenticity proof, which makes research on Goryeo`s court paintings even more challenging. Paying attention to the fact that Goryeo`s court paintings do have common elements with other general paintings, however, this study set out to collect and analyze data about Goryeo paintings studied to date and examine the nature and characteristics of Goryeo`s court paintings in details. Goryeo is regarded as the dawning in the history of Korean paintings since it was Goryeo that Korean paintings started to witness the full-scale spread of general landscape paintings, paintings of flowers and birds, and figure paintings. Influenced by Buddhism in early Goryeo and Sung Dynasty`s Sung Confucianism imported since middle Goryeo, Goryeo`s social perceptions began to change starting in the middle period. Goryeo paintings also started to show different trends from before; Goryeo`s active exchanges with Northern Sung resulted in the transmission of Sung`s advanced and various painting trends and systems including Kuo Hsi`s style and literati painting; a group of painters called dilettante literati artists emerged; paintings for Mo-xi(joy with Chinese painting) appreciation made a full-blown debut; the Hwa-guk was founded and the painters played remarkable roles; and a tradition of Silgyeongsansuhwa(real scenery landscape painting) in the family of Myeongseungmyeongsodo(the painting of noted scenery and celebrated locality) was also created. In addition to those trends and tendencies that deserve some attention, Goryeo paintings claim breakthrough significance that distinguishes them from their predecessors in that they made the foundation of medieval development in Korean paintings. In Goryeo, it was also checked out that Dohwawon was established which produced painters and governed Hoisas. Thus it provides crucial clues about Goryeo`s court paintings. Given that Goryeo`s court paintings are the predecessors of Joseon`s court paintings and their base since court paintings place great value on precedents, it is critical to examine their concepts, nature, and characteristics. The study first examined the background behind the creation of Goryeo`s court paintings. In Goryeo, the ancient traditions, which used to prosper on the basis of Buddhism, were inherited and developed more sophisticated and splendid. New trends never seen before started to emerge in general paintings. Among them, the tendency of Hanmuk as a literary man and the theory of literati paintings enabled them to form a medieval painting practice and promote the growth of general paintings in full scale. The nature and characteristics of Goryeo`s court paintings that were created with such a background are as follows; first, the practice, interest, and support of the nobility and the gentry provided an important base for the creation of Goryeo`s court paintings and served as one of the critical factors to define their nature. Then their connections with China were analyzed. During Goryeo, not only the civil ministers but also traders imported and appreciated diverse Chinese paintings through the sea and land routes, and such an atmosphere must have affected Goryeo`s court paintings. Finally, their connections with Confucianism, Buddhism, and Taoism were investigated. Focusing on the fact that the Goryeo culture was based on Confucianism, Buddhism, and Taoism, the investigator demonstrated that there were influential relationships between the court paintings and Confucianism, Buddhism, and Taoism. The research findings show that Goryeo`s court paintings were connected to and inherited to Joseon`s court paintings and served as an important fertilizer in the systematic growth of court paintings.

근대 여성화가 정찬영(1906-1988)의 채색화조화 연구

배원정 미술사학연구회 2019 美術史學報 Vol.- No.53

Chung Chan-young(1906-1988) is one of the most female painters representing the ink-andpainting flower beds of Korea’s modern era. Chung Chan-young, who learned painting from Lee Young-il and started as a painter, rose to prominence as a painter. As Lee Young-il used a style of blank colored painting derived from modern Japanese paintings, Jung Chan-young also showed the world of works focusing on painting by Jin-chae. Chung Chan-young’s case is also meaningful in that it is an example of a very early female writer. Although it was a pioneering work of feminization compared to Park Rae-hyeon and Chun Kyung-ja in the Oriental Painting Company, it has never been discussed in depth. It is even more meaningful because she was a modern female artist who still had a strong traditional weight despite the change in women’s position, and was a figure who made a clear mark in the Joseon art exhibition. In this paper, we are going to comprehensively review the background of Jung Chan-young’s career and painting background as a female writer in the modern era, and the development and characteristics of the world. 정찬영(1906-1988)은 한국 근대기 수묵채색화단을 대표하는 여성화가 가운데 한 명이다. 근대기의 공필채색화가 이영일로부터 그림을 배우고 화가로 입문한 정찬영은 화조화가로 두각을 나타냈다. 이영일이 근대 일본회화로부터 기인한 공필채색화조화풍을 구사하였기 때문에 정찬영 역시 공필 진채의 화조화를 중심으로 작품세계를 전개해 나가는 모습을 보였다. 정찬영의 경우 매우 이른 여성작가의 사례라는 점에서도 의미 깊다. 동양화단에서 박래현이나 천경자에 비해서도 선구적인 활동을 펼쳤던 여성화가였지만 현재까지 심도 깊게 논의되었던 적은 없었다. 여성의 입지가 크게 바뀌는 가운데에서도 여전히 전통의 무게가 가볍지 않았던 근대기 여성화가로서 조선미술전람화에 입상하는 등 뚜렷한 족적을 남겼던 인물이기에 그 의미가 더욱 깊다. 본고에서는 근대기 여성작가로서 정찬영이 활약할 수 있었던 배경과 그 생애와 회화적 배경, 회화세계의 전개와 특징을 종합적으로 검토하고자 한다.

민화(民畵) 수노인도(壽老人圖)에 대한 고찰

배원정(Bae Wonjung) 한국민화학회 2016 한국민화 Vol.- No.7

수노인(壽老人)은 인간의 수명을 관장하는 것으로 알려져 있는 남극성(南極星)을 신격화한 것으로 남극노인성(南極老人星), 노인성(老人星), 수성(壽星), 수성노인(壽星老人), 남극성(南極星) 등으로도 지칭된다. 수노인은 길상성의 핵심이라고 수 있는 장수(長壽)의 속성을 지닌 신선이기에 궁중에서도 세화(歲畵)나 생일 선물용 그림으로 수노인을 제재로 삼았으며, 점차 저변화되어 민화로까지 다수 제작되기에 이르렀다. 조선시대의 수노인도는 본래 조선 초기에는 소격서와 같은 도교의 제례 공간에서 숭배용으로 사용되었지만, 조선이 유교적 이념을 강화하는 과정에서 길상적, 축수적 성격이 강한 도상으로 변모하였다. 조선 중기 김명국이 그린 수노인도는 두상이 길고, 키가 작은 도상적 특징을 잘 반영하고 있는 현존하는 한국 수노인도의 이른 사례다. 이후 수노인도는 조선 후기, 말기를 거치면서 화면에 사슴, 영지, 복숭아 등을 결합시키며 한층 더 길상성을 강화하였다. 점차 궁중 및 지식인들의 관습에 따라 일반 백성들 사이에서도 세화나 생일 선물로 활발히 활용되었기 때문에 수노인도는 민화로도 많이 그려졌다. 이에 민화 수노인도는 일반회화의 도상을 계승하기도, 불교회화의 영향을 받기도, 길상적 상징성을 보다 강화하기도 하는 등 다양한 면모를 보여준다. 일반 회화의 도상을 계승하는 경우 긴 두상, 사슴 등의 특징이 유지되었지만, 반대로 키가 작은 특징은 유동적인 면모를 살펴볼 수 있었다. 이는 도상 자체의 이해에 대한 부족일 수도, 변형을 추구하는 민화 자체의 속성 때문일 수도 있다. 불교 회화의 영향을 수용한 수노인도는 조선 후반기 이래 불교 회화와 민화가 서로 영향을 주고받으며 융합되던 당시의 산물이라고 볼 수 있다. 사슴 대신 등장하는 구름, 옷의 묘사법, 달토끼의 모티브 등은 불교와의 관련성을 엿보게 해주는 것들이다. 또한 봉긋한 연기가 피오르는 듯한 호리병의 표현은 도교 신선 이철괴의 도상에서 가져왔을 가능성이 높아 민화 수노인도에서 다양한 중첩이 발생하였음을 짐작케 한다. 민화 수노인도에 있어서 무엇보다도 특징적인 것은 일반회화에 비해 길상성이 강화된 그림들이라 할 수 있다. 수노인 도상에 문자도를 연상시키는 목숨 수(壽)자의 나무를 결합하거나 책거리 그림 속의 그림으로 표현하는 등의 방식은 일반 회화에서는 발견되지 않는 독특한 요소들이다. 이처럼 민화 수노인도는 그간 수노인도의 전개에 있어 말기적 단계로 부차적으로 여겨졌지만, 일반회화 못지않은 다양성과 역사적 의미를 지니고 있음을 엿볼 수 있었다. Jurojin(壽老人) is the deified south pole star which controls human life and it is also called as the star of south polar old man, the star of old man, the star of longevity, the old man of the long life star or the south pole star. Because Jurojin is the Taoist hermit having the attribute of longevity which is regarded as the core image of the auspices, it became the theme of the new year’s paintings and the paintings for the birthday present in the royal court, and afterwards this kind of trend widened and lots of folk paintings of Jurojin were made. Though the paintings of Jurojin were originally used for worship at Sogyukseo (昭格署: an office of early Joseon Dynasty which managed Taoist worshipping ceremony) in the early Joseon Dynasty, in the process of strengthening Confucius ideology, it had changed to an iconograph which has the characteristic of strong auspice and invocation. The painting of Jurojin by Kim Myungkuk of the middle Joseon, in which the iconographic characteristics of long face and short height are well reflected, is an early example of extant paintings of Jurojin. Afterwards through the late and last period of Joseon Dynasty the paintings of Jurojin strengthened the symbolization of auspices by adding things such as deer, Ganoderma Lucidum, and peach. Because following the customs of the royals and intellectuals, the ordinary people used the paintings of Jurojin for the new year’s paintings and for the birthday present, many folk paintings of Jurojin were produced. Folk paintings of Jurojin show various aspects by succeeding the iconograph of ordinary paintings, by receiving the Buddhist influence, and by strengthening the symbolization of auspices. In case of succeeding the iconograph of ordinary paintings, the characteristics such as long face, deer and so on are maintained, but on the contrary the characteristic of short height seems to be flexible. This can be understood as the result of the lack of understanding the iconograph or the characteristic of the folk painting itself which seeks transformation. The paintings of Jurojin which accepted Buddhist paintings’ influence can be regarded as the product of the reciprocal influence of Buddhist paintings and folk painting since the late Joseon Dynasty. The cloud which appears instead of deer, the descriptive method of clothes wrinkles and the motif of the moon rabbit show the relationship with Buddhism. As the description of the smoking gourd bottle seems to be probably borrowed from the iconograph of Taoist hermit Li Tiegui (李鐵拐), we could guess that there happened lots of overlapping in the folk paintings. Compared to the ordinary paintings, the main characteristic of the folk paintings of Jurojin is the strengthening of the symbolization of auspices. Combining the Jurojin iconograph with the tree in the shape of Chinese Su (壽) character which reminds us the paintings of Chinese characters and depicting books like the those on a painting of the scholar’s study are the unique elements which cannot be found in the ordinary paintings. Though the folk paintings of Jurojin are until now regarded as belonging to the supplementary late stage of the development of paintings of Jurojin, we could see in them no less diversity and historical meaning than ordinary paintings.

한양대학교박물관 소장 <海上群仙圖> 연구

배원정 한국대학박물관협회 2009 고문화 Vol.73 No.-

Saints Crossing the Sea shows a group of saints that have each own unique value in terms of praying for good luck. The artists seem to have wanted to wish for more diverse kinds of fortune at a time by putting in a group of several saints instead of one or two with certain abilities. Housed at Hanyang University Museum, the painting is the joint work between Jo Seok-jin and Ahn Jung-shik, the number of whose joint works is not very big. Among the few joint works, the painting is regarded as one of their masterpieces and the fruit of their devoted work. On the canvas, there are the names of each icon, poems to describe them, and the motivation for and the date of painting. Those records grant the painting huge value since they provide some hints about the phenomenon of the work and the style characteristics of the same kind of painting those days. The analysis results of its icons and style reveal that Jo painted the background and Ahn the figures and wrote the title. On the right of the title are the two painters' four red rectangular seals. What's also interesting about the painting is that it presents new icons not seen from the old paintings of saints crossing the sea. In the painting, the two artists were under the huge influence of the Shanghai School while following Jang Seung-eop's style in many ways. It's pointed out that Jo and Ahn created works that were connected to the style of Jang and that of the Shanghai School. Their Saints Crossing the Sea shows closer connections to the Shanghai School than Jang's style, which suggests that the two artists graduated from Jang's style that they had learned as students. Their Saints Crossing the Sea claims great significance in that it inherited the tradition of Chosun's paintings of saints crossing the sea, which kind of painting had been constantly created from the middle to the end of the dynasty, and that it's a good example of Taoist and Buddhist figure paintings with the powerful reflection of Korean traits. 海上君仙圖는 여러 신선들이 물 위에 떠 있거나 渡海하는 모습을 그린 그림을 말한다. 여기에 등장하는 신선들은 각각 특정한 기복적인 의미들을 갖고 있는데, 어떤 능력을 지닌 신선 하나나 둘보다는 여러 신선들을 무리지어 그려 넣음으로써 보다 다양한 복을 한꺼번에 받고자 하는 의도에서 나오게 된 유형의 작품이다. 한양대학교박물관 소장 <海上君仙圖>는 조선 말, 근대화단으로 연결되는 가교 역할을 담당했던 조석진과 안중식의 합작품으로, 이들이 합사한 작품은 전해지는 수가 거의 없으며, 병풍 형태나 단일 신선도의 형태가 아닌 大作으로 그려져 더욱 주목된다. 또한 지금까지 알려진 조석진과 안중식의 최초 기년명 작품보다 시대가 앞선 것으로 두 화가의 기년명 작품의 상한연대를 1892년까지 올려볼 수 있게 되었다. 화면에는 각 도상의 이름과 이를 설명하는 題畵時 등이 덧붙여 있을 뿐만 아니라, 작품의 제작 동기와 제작연대를 기록하고 있어 작품의 現狀과 당시 그려지던 해상군선도의 화풍상 특징을 파악하기에 높은 가치를 지녔다. 또한 ‘雲草’에게 그려준 작품이라는 점을 명시해 놓아 이 그림이 壽福의 의미를 담아 선물로 제작된 그림임을 알려주고 있으며, ‘운초’는 조선총독부 중추원 참의를 지낸 玄檃이 현재로서 가장 유력한 인물로 추정된다. 작품에서 보이는 도상과 양식을 분석한 결과 산수배경은 조석진이, 인물과 畵題는 안중식이 제작한 것으로 추정된다. <해상군선도>에는 장승업 및 해파 화풍이 반영되어 있으며, 특히 任伯年의 스승이자, 선배격인 任熊 화풍의 영향을 많이 받은 모습이다. 한양대학교박물관 소장 <해상군선도>는 조선 중기이래로 후기, 말기에 이르기까지 꾸준히 제작되어 온 조선시대 해상군선도의 전통을 잇고 있는 작품이자, 한국적 특징을 반영한 도석인물화의 한 예로서 중요한 의미를 갖고 있다.

모던의 상징, 한국 근현대 장미화

배원정(Bae Wonjung) 한국예술종합학교 한국예술연구소 2019 한국예술연구 Vol.- No.26

文學을 주제로 한 文徵明의 繪畵

裴原正(Bae Wonjung) 미술사연구회 2011 미술사연구 Vol.- No.25

[資料紹介] 한양대학교박물관 소장 丁學敎 筆 〈怪石圖〉

배원정 한국대학박물관협회 2010 고문화 Vol.75 No.-

丁學敎(1832~1914)는 조선 말기에서 근대로 변화하는 시기에 새로운 경향을 화폭에 담아낸 여항문인 화가로 竹石圖, 怪石圖등 문인화가들이 즐겨 그린 畵目을 많이 그렸다. 특히 괴석도에 능해 담백하면서도 섬세한 필치로 바위의 특성을 예리하게 포착하여 묘사한 것으로 평가받는다. 한양대학교박물관 소장 〈怪石圖〉屛風은 1979년 이활 선생이 한양대학교에 기증한 것으로 이제까지 작품자체에 대한 면밀한 연구는 없었으며, 소략한 도판의 소개 정도만 이루어졌을 뿐이다. 이작품은 이제까지 정학교의 1897년 이후의 후기작으로 분류되던 작품이었으나, 제발의 해석을 통해 1877년 겨울에 그린 비교적 초기작임이 확인된다. 조선말기의 회화는 중국 청대 화단과 밀접한 관련성을 지니고 있으며, 정학교 또한 淸代揚州畵派 및 海上畵派의 회화와 중국의 畵譜로부터 많은 영향을 받은 것으로 추정되는데, 중국의 眞蹟이 구하기 어려웠던 당시 상황에서 실제 청대의 회화 작품보다는 화보가 더욱 큰 참조의 대상이 되었던 것으로 보인다. 정학교의 경우 현재까지『顧氏畵譜』, 『芥子園畵傳』, 『齋畵勝』등과의 관련성만이 언급되어왔지만, 한양대학교박물관 소장 〈괴석도〉의 경우 石譜의 효시이자, 원조격인『素園石譜』와 밀접한 관련성을 지니고 있는 것으로 추정된다. 또한 수묵기법으로만 제작하거나, 마치 형이상학적 괴체를 표현해 놓은 것 같은 후기의 여타 작품들과 달리 담채를 이용한 점, 그리고 괴석을 사실적으로 묘사한 점 등도 한양대학교박물관 소장 〈괴석도〉의 특징으로 정학교 괴석도의 초기적인 특징을 반영하는 것으로 생각된다. Jeong Hak Kyo(1832-1914) was a painter of Yeo-hang literary men who drew pictures showing new trends during the period between the late Joseon and modern Korea, especially famous for drawing original oddly shaped paintings. His family clan was Naju, his alias was Hak Kyo, and Ja was Hwa Kyung. His pseudonym (Ho) included Hyang Su, Mong In, and Mong Jung Mong In. Thought not clear, he might take up a public office as a country headman (the fourth degree of Jong). He was good at calligraphic styles including Jeon, Ye, Hang, and Cho, and drew mainly plants and trees such as bamboo-and-rock or oddly-shaped rock paintings, which were frequently drawn by literary-man painters. Jeong’s paintings are assessed to sharply capture and describe the characteristics of rocks with bland but detailed style. Oddly Shaped Rock of the Hanyang University Museum was donated by Lee Hwal in 1979 no detailed research has been conducted for the painting, except for short description for its artwork. The painting had been classified as one of Jeong’s later works after 1897, but it was verified to be painted in the summer of 1877 and be his relatively earlier one, by interpretation of Je Bal. Paintings in late Joseon Dynasty were closely related to painting circles of Qing Dynasty. Jeong Hak Kyo was also estimated to be affected mainly by paintings of Yang Ju and Hae Sang circles, as well as Chinese art books. Given that actual works of China were hard to be received at that time, he might refer rather the art books than real Qing paintings. As for Jeong, only his association with Ko-si-hwa-bo, Kaeja-won-hwa-jeon, and In-jae-hwa-seung has been considered, but his Oddly Shaped Rock of the Hanyang University Museum is estimated to be the beginning of Seok-bo and to be closely related to Sowon-seok-bo as one of the first Seok-bos. Also, Oddly Shaped Rock of the Hanyang University Museum is characteristic in that it was used of thin coloring unlike his other works painted only by inking and that it described oddly-shaped rocks realistically unlike his other works in which such rocks were described as metaphysically weird things. Such characteristics are considered to reflect early properties of his oddly shaped rock paintings.

工筆 花鳥畵의 현대적 재창조

裴原正(Bae Wonjung) 미술사연구회 2012 미술사연구 Vol.- No.26