朝鮮 後半期 歲時風俗圖 硏究

Abstract

Sesipungsok (歲時風俗) are annual cyclical rituals that are carried out regularly,repetitively and ritually at certain times of the year. Directly related to the agriculturalcycles such as plowing, weeding and harvesting in rural areas, sesipungsok fundamentallytakes on the character of agricultural rituals. Painting of sesipungsok refer to illustrationsunder the theme of sesipungsok or annual cyclical rituals encompassing customs, ritualsand games in accordance with the monthly events, 24 seasonal divisions and holidaysof the lunar calendar. In the case of series paintings on folding screens, the illustrationsare arranged and depicted according to the rituals and events a farming house mustcarry out monthly or seasonally over the course of the year. The folding screens withthe paintings of sesipungsok are composed of 8 or 12 panels, and the form andcomposition of the illustrations date back to the Illustrations of “Seventh Month” from the“Odes of Bin” (豳風七月圖) of China. Illustrations of “Seventh Month” from the “Odesof Bin” are based on the poem “Seventh Month (Qieyue, 七月)” in the “Airs of Bin(Binfeng, 豳風)” section of the Classic of Poetry (Shijing, 詩經). As painting of sesipungsok began with didactic paintings of the royal court and cameto prevail amongst civilians, it acquired a variety of functions. In a Confucian societybased on agriculture, painting of sesipungsok was an effective means to advocate thesocial ideology. The lifestyle of the farmers, who were both devoted to their jobs andlives, corresponding to the course of nature of the four seasons, was enough to signify논문투고일: 2012년 9월 30일 / 논문수정일: 2012년 11월 16일 / 게재확정일: 2012년 11월 22일朝鮮 後半期 歲時風俗圖 硏究 171a peaceful reign in which the ideals of royal politics was realized. It can be confirmedthrough the painting of sesipungsok that the nobility, who sought to spread and realizethe Confucian values in the rural community society, sought to project and realize theirrealistic desires and livelihood actions through the painting of sesipungsok as it wentthrough Joseonization and settled towards the end of the 19th century. Moreover, thehwabon (畵本, album with a collection of illustrations used as a manual book forlearning how to paint) on genre painting played a major role in spreading paintingsof such subjects beyond the walls of the royal palaces and to the civilians outside thepalaces. Currently, there are no hwabon left, but the existing genre paintings show theexistence and function of hwabon. Through the foreword of Wolyeonongga (月餘農歌)written by Hyeong-su Kim, it can be confirmed that a hwabon of the genre paintingsof the Joseon Dynasty, Collection of Illustrations (圖說集), existed in 1861 at the latest.