윤두서의 <채애도(採艾圖)>와 문인정신 : 풍속화 논의를 중심으로

Abstract

Yun Doo-seo's Chae Ae-do (Women Picking Edible Plants) has been appreciated in the context of the late Joseon Dynasty’s genre painting. Including Chae Ae-do, four of Yun’s paintings that depict folk culture placed him on par with Jo Yeong-seok as one of the pioneers in the development of late Joseon Dynasty’s genre painting. Until recently, most of the research on genre paintings focused on the spirit of the late Joseon Dynasty and its effect on the birth and popularity of the art. However, genre painting is indicative of Western modernity that placed importance on the daily life of ordinary people in contrast to the canonization of historical painting. It is difficult to imagine the birth of genre painting without a modernist perspective that granted an unprecedented aesthetic value on the everyday by depicting its precious moments. Therefore, one should approach with caution when tracing the origins of Joseon's genre painting back to prehistoric petroglyphs and Goguryeo’s murals, or understanding it in connection with the early Joseon Dynasty’s Muido and Binpungdo (paintings that depicted the hard life of the common people based on a Confucian scripture). This paper investigates the philosophy of Joseon Dynasty’s literary painters through Yun Doo-seo, who openly embraced the painting style of the Zhe-school rather than following the typical literary painting style of saui (expressing the spirit of a painter). Through the analysis of Chae Ae-do, this paper examines how Yun Doo-seo maintained the literary spirit in his genre paintings.