채용신 초상화의 도상학 -병풍배설형 초상화를 중심으로-

Abstract

This study focuses on the particular form of Seokji Chae Yong-shin’s portraits which use folding screen of landscape as the background of the subject. This is a method which replaces the method of leaving the background blank with folding screen of landscape, belonging to the later years of Chae Yong-shin. Of course, that Chae Yong-shin used folding screens of landscape as a background cannot entirely exclude the connection with portrait photography; however, it requires attention that different type of landscapes and meticulously described Korean-style houses appear distinctively per portrait. Especially, this study examines how the landscapes in the folding screen have a narrative function of portraying the life or the achievements of the person drawn through <Portrait of Chae Myun-muk>, which drew Chae Myun-muk, a fellow member of the Pyun-gang Chae family. This process of folding screens placement produces certain methods; a case where the folding screen is parallel to the mat on the floor and a case where it is placed deeper in the center where the person is and leaving a big space between the person and the folding screen. On the other hand, a thorough analysis on the folding screens, the landscape, and the features of the belongings provide a clue to examining <Self-Portrait> by Chae Yong-shin. Although it is an artwork which its existence is unclear except for a black-and-white picture, it is a rare artwork in which portrait painter of Korean modern period has recorded the image of his or her own self, with magnificent characteristics shown through various items projecting his identity, including the folding screen of landscape. This study attempts to analyze the meanings of such and estimate the date of production based on the changes of the style, widening the study of Chae Yong-shin’s portraits.