조선 후기 화가의 재발견― 휴당 이계호(1754~1833)의 생애와 포도도 연구

Abstract

This study reviewed and corrected the life and paintings of HyuDang Lee Gye-ho(休堂 李繼祜, 1754~1833), who was wrongly known as a representative grape painter in the mid-Joseon Dynasty, and examined the impact of Lee Gye-ho on later grape painting styles. First, we investigated the cause of Lee Gye-ho’s mistake as a grape painter of the mid-Joseon Period. The reason for this is that Oh Se-chang(吳世昌, 1864~1953) misinterpreted the poem of Hyudang(休堂) in Oh Se-chang’s “keonyeokseohwajing(《槿域書畫徵》, 1928).” Yi Gye-ho had already gained a reputation for grapes in his 40s before ‘the envoy’s trip to Beijing, China’ in 1794. He then served as Chalbang(察訪) of Gyeongsang-do and Chungcheong-do. Next, the symbols and types of grape paintings were divided into the first and second half of the Joseon Dynasty, and the differences and characteristics were analyzed in detail. In the first half of the Joseon Dynasty, Joseon writers used grape painting as an object to cultivate their character. Since then, grape paintings in the late Joseon Dynasty have been painted in pairs with squirrel, a symbol that gives birth to many sons and descendants and brings blessings, and the secular auspiciousness tends to be highlighted. The characteristic of grape paintings during this period is that in terms of form and detailed style, they are changed to Joseon style using grape juice in A single tree-style folding screen(全樹式屛風), which means “Mandae(萬代)”. There are three works in his early 70s, all of which are in his late 70s, and all 40 works have been produced in skillful strokes. And modern painters in Gongju and grape painters in Jeollabuk-do(全北地域) all followed Lee Gye-ho’s grape painting style. This may be due to the influence of Lee Gye-ho, who gained fame while working mainly in Gongju, Chungcheongnam-do.