『탐라순력도』의 건축물 표현 기법 연구

Abstract

This study sought to reveal expression techniques focusing on the buildings of 『Tamna Sullyeokdo』 painted in the 18th century. 『Tamna Sullyeokdo』 is a picture book drawn by Jeju pastor Lee Hyeong-sang and commissioned Kim Nam-gil to do it after his trip. While drawing the events held in the 3 walled-towns and 9 military forts, including Jeju-mok, the appearance of many buildings was naturally confirmed in 33 of the 41 drawings. It was judged that the techniques and expressions of the buildings in this painting were related to paintings from an earlier era, so we looked at the expression techniques of the buildings drawn in the Royal paintings, Gyehoedo(A picture of people with the same thoughts, philosophy gathered together), Roads, maps, etc. There are differences in each picture, but in general, parallel linear perspective, parallel diagonal perspective, drawing only the front and back, and reverse perspective were used. In addition, in Jeju Island, the top of the picture is generally towards the south, and by examining the direction of the top of the picture in 『Tamna Sullyeokdo』, we were able to confirm that it changed slightly depending on the building, and we confirmed the detailed expression method of the buildings in three walled-towns and nine military Forts. Finally, as a result of identifying the techniques applied to each main building, annex buildings, and the horizontal and vertical buildings that serve as the background of the picture, drawing only the front and rear was used 43 times in the expression of all buildings. And the parallel diagonal perspective was used 40 times, and parallel linear perspective were used 34 times. The reason there are so many parallel diagonal perspective is because all the vertical seated buildings in the background were drawn using this technique. It is presumed that the reverse perspective, which was popular in the previous era, was difficult to use because it was used only 5 times. Through this study, we were able to find out the level of architectural perception of the painters at the time and found that the composition and arrangement of buildings for events were flexible. Also, it is known that Kim Nam-gil initially painted it alone, but it is presumed that there was a group that assisted.