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논문 상세정보

星州李氏 家門의 초상화 연구

A Study on Portrait Paintings of the Lees of Seongju(星州李氏)

藏書閣 no.22 , 2009년, pp.139 - 179   http://dx.doi.org/10.25024/jsg.2009..22.139

This study introduced 11 figures' portraits of the late Goryeo and early Joseon whichwere to transmit to the Lees of Seongju(星州李氏), and intensively looked intotransmission history of portraits enshrined in Ansanyoungdang(安山影堂) in Seongju,Gyeonbuk and patterns in Imobon portraits(copy-portraits 移模本). Portraits of the Leesof Seongju included Lee jang-kyeong(李長庚 1214~?) who created the branch ancestorin the late Goryeo, and descendants who became retainers and officials in the lateGoryeo and early Joseon. Imobon was made many times throughout the 18th and 19thcenturies based on the original portraits drawn in the time of their birth. The studytargeted Imobon conveyed in Ansanyoungdang in 1714, its Imobon in 1746, and Imobonin 1825 and 1865 as the subjects of study. Imobon in the 18th century showed thetemporizing factor of the period before 18th century and painting techniques such asshading which was popular at that time while Imobon of 19th century applied strongcolors, monk painters' pattern and expressed various expressive characteristics faithfulto Imobon.Portraits of the Lees of Seongju recorded the period of Imobon on the canvas to showthe production period, and transmitted many paintings as the model to make it possibleto look into diachronic changes. In addition, the locally made patterns and Buddhistcolors by Monk painters are unique properties of the portraits, and inform of newaspects and patterns in the portraits of the late Goryeo and early Joseon reflected inmonk painters' Imobon. Also, as figures’ portraits of in the early Joseon Dynasty showscholar-officials' characteristics, it is expected that the first figure was drawn by a normalpainter, not by a monk painter.Portraits with patterns of the Goryeo period, which were drawn by monk painters,were criticized by the Confucianists’ perspectives in Joseon Dynasty for its preferencein Buddhism. It showed that different perspective of viewing the portraits in the Goryeoand Joseon Dynasty was based on the ideological propensity instead of paintings’ forms.In addition, portraits of the Lees of Seongju didn't strictly apply Imobon's principals thathad to be precisely copied, which focused on the result of conscious efforts by overallchanging the irrational or inconvenient matters of the figure and supplementing them.Through the portraits of the Lees of Seongju, this study prepared a new foundationfor the study on portraits of the late Goryeo and early Joseon that remained vacant,and focused on demonstrating and presenting Imobon's patterns and characteristics toshow the actual portraits more clearly.

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