조선 민화(民畵)의 유형 및 소재의 상징과 특징 연구

Abstract

This study examines the background of Korean folk paintings and the symbolism of the elements depicted in these paintings, in order to derive their formal and thematic characteristics. Folk paintings represent the most diverse and expressive forms of painting during the Joseon Dynasty. The richness and diversity of these expressions reflect the warm inclusiveness of the late Joseon commoners, who used them as a means to address their grievances and perceive everything naturally. The research results reveal that this can be attributed to the unique formal and thematic characteristics of folk paintings, which are not found in traditional paintings. In terms of form, folk paintings employ organic overlapping of multiple objects, a multi-perspective representation of objects in two or three dimensions, a disregard for perspective or spatial depth through freely manipulated flatness, a symmetrical composition that centers around the depicted object, and a disregard for size and proportional relationships within a single screen. In terms of content, folk paintings employ humor as an aesthetic expression of the grievances and suppressed psychological conflicts of the late Joseon commoners. Although they visually depict tangible objects, they embody abstractness inherent in these objects, and they are characterized by the anonymity of the commoner painters who freely painted without the need to disclose their names or identities. Folk paintings represent the strongest sense of subjectivity, vividly expressing the life philosophy and emotions of the commoners during the Joseon Dynasty. Despite their significance, folk paintings have not been given proper recognition in Korean art history. Therefore, by examining the unique characteristics of folk paintings that are absent in traditional paintings from a modern perspective, it is hoped that they will be continued and further developed in the future. By analyzing the symbolism, formal, and content characteristics of Korean folk paintings, this research is expected to contribute to finding an appropriate position for Korean folk paintings in the history of Korean art. This paper is anticipated to shed light on the various meanings and values of folk paintings and demonstrate their role in showcasing the sentiments and social dignity of common people. Furthermore, the paper is expected to emphasize the historical and cultural significance of folk paintings once again, thus contributing to the recognition and evaluation of their value. The research findings are expected to provide evidence for the evaluation and preservation of folk paintings and offer guidance for their future development and succession.