애춘 신명연(1809-1886)의 화훼화 연구

Abstract

This study examines the new aspects of literati paintings in the late Joseon Dynasty through the flower paintings of Aechun Shin Myeong-Yeon (1809-1800). Flower paintings had been painted ever since the early Joseon Dynasty. By the late Joseon Dynasty, Shin Myung-Yeon’s paintings were noticeably distinguished; not only in quantity, but also in composition and style as a harmony. Which emerged not only from professional artists, it also came from literary artists based on the flower style of the Ming and Qing Dynasty. Shin Myeong-Yeon learned painting from his father, Shin Yu (申緯 1769-1845), and the paintings in the family must have influenced the creativeness of paintings. Along with that note, the paintings of Shin Wi’s were paintings of Changzhou huapai (常州畵派) of Gangso province. In addition, to find out the background of various kinds of flowers painted, the types of flowers newly introduced from Qing Dynasty along with the gardening culture and prosperity of Joseon Dynasty needed to be looked. Lastly, Manual of the Mustard Seed Garden (Jie zi yuan hua zhuan 芥子園畵傳) was focused on the characteristic view of the painting, which is distinguished from the late Joseon Dynasty, through the creative imitation of old styles. During the 1864 and 1872, artist like Nam Gye-woo (南啓宇, 1811-1890) and Kim Yeong (金瑛, 1837-1917) and simliar like artist were compared. They were active at the same time period, with the focus on the flower painting. Importantly, through the example of a poem inside a painting was cited in the Gwanggunbangbo (廣羣芳譜), a gardening technology book. Which showed the creative trend of the flower paintings that changed in the late Joseon Dynasty by lighting up the paintings of the encyclopedic knowledge.