조선후기 지방 파견 화원들과 그 제도, 그리고 이들의 지방 형상화
Government artists Dispatched to Local Areas, Government artists Dispatched system and their Configuration of Local Areas in Late Jeoson Dynasty
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This study examines Government arists dispatched to local areas and their local figuration concerning the institution of Royal Bureau of Painting which had the system of dispatching government artists from the central government to local areas. None of the study is found concerning this system which started from 1704 and was abolished in 1894. Despite the lack of discussion concerning this system, however, almost 1,700 government artists during the 190 years were dispatched to 21 different areas all over the country to stay for two years each. This statistics imply that most of government artists of Royal Bureau of Painting had the experience of dispatch to local areas in a comparatively affluent treatment. This system brought the economic and social security to these artist families and contributed to their settlement as the important social group in chungin class. Furthermore, it is believed that considering these artists were living in the central government, they must have played important roles in expanding the central culture to local areas through their dispatch. This study attempts to examine the relations between the system and the production of the paintings, the central government and the local, the exhibition effect and its social context, the relation between power and the local figuration through art piece. In its multiple approaches to visual culture from the viewpoint of New Art History, this study distinguishes itself from the existent studies on art history focusing only on the analysis of art piece.
Abstract
This study examines Government arists dispatched to local areas and their local figuration concerning the institution of Royal Bureau of Painting which had the system of dispatching government artists from the central government to local areas. None of the study is found concerning this system which started from 1704 and was abolished in 1894. Despite the lack of discussion concerning this system, however, almost 1,700 government artists during the 190 years were dispatched to 21 different areas all over the country to stay for two years each. This statistics imply that most of government artists of Royal Bureau of Painting had the experience of dispatch to local areas in a comparatively affluent treatment. This system brought the economic and social security to these artist families and contributed to their settlement as the important social group in chungin class. Furthermore, it is believed that considering these artists were living in the central government, they must have played important roles in expanding the central culture to local areas through their dispatch. This study attempts to examine the relations between the system and the production of the paintings, the central government and the local, the exhibition effect and its social context, the relation between power and the local figuration through art piece. In its multiple approaches to visual culture from the viewpoint of New Art History, this study distinguishes itself from the existent studies on art history focusing only on the analysis of art piece.
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