風俗畵를 中心으로 한 人物畵의 硏究 = (A) Study on figure Painting of Korea : Centernity on Genre Picture

다국어 초록 (Multilingual Abstract)

Figure must be appeared next to the animal depiction on a picture when a drawing exceeds the level of a symbol and a design and reappears an object in every nation's art history. The hunting paintings represented in cave's wall paintings of the prehistorical age, the wall paintings of KOGUROE and the religious paintings of Renaissance are all that which prove the history of figure painting. It is natural that men have been interested in themselves and treated them the Painting's primary matter in the light of that men's originally internal impulse is arised from the intimate relations with common life and every value created in life as well as art is realized only when men exist.
It seems that real figure painting in Korea had started being shoved up from the ancient tomb's wall paintings of 'three-nation age', however, the vein of figure painting had begun at the final period of 'Lee dynasty' when the figure painting was freed from the painting which had been impersonal, manneristic, typed by the idealist and visionary based on the Chinese pictorial theory such as preexisting inactionism, unionism and transcendentalism under the influence of the people's awareness against the contradiction of the feudalism, practicality and foreign ideas, so the native painting and folk painting depicted their circumstances had appeared.
In intending to express the figure who are among the concentrated diverse features resulted from the mass production which is the characteristic of the modern society after the Industrial Revolution or the grouping figure that is met with everywhere, namely throng on canvas, I am willing to study and analyze our ancestor's works of past and several senior painters' after 1945. 8. 15. Symultaneously, with tracing our ancestor's creative stylistic techniques such as the change of the figure's characteristic and composition, I am about the reaffirm the shape-consciousness that is confused nowadays under the influence of the indiscrimanate western culture and discover there new possibility.

목차 (Table of Contents)

• 目次 = ⅰ
• Ⅰ. 序論 = 1
• Ⅱ. 朝鮮朝 後期 風俗畵의 意義와 特徵 = 3
• 1. 檀園 김홍도의 人物 世界 = 4
• 2. 蕙園 申潤福의 人物 世界 = 5
• Ⅲ. 19世紀 民畵 속에서의 人物 = 7
• Ⅳ. 現代化의 過程에서 나타난 風俗畵 = 10
• Ⅴ. 結論 = 14
• 1. 制作 意圖 = 16
• 2. 作品 分析 = 18
• 圖版 = 22
• 參考文獻 = 28
• ABSTRACT = 30