조선후기 여성인물화에 나타난 복식의 표현양식에 관한 연구

Abstract

In Korean painting history, women's figure and lifestyle were painted in the late Joseon Dynasty and before that, women were rarely painted. Like this, In the context of making female portraits intensively in the late Joseon Dynasty, there were economic growth and periodic background such as change in the caste system⋅rise of the thought of practical science⋅prosperity of the working class culture. In female portraits in the late Joseon Dynasty, life of various social classes was reflected and among them, use of various color and dynamic expressions with the form of costume contain vivid factors that can look at the lifestyle of that time and can not be found in other painting types. Therefore, after classifying and analyzing these according to position⋅system⋅time, that characteristics are showing clearly apparent. First, depending on the status, the dress⋅skirt⋅undergarments are showing different form of expression such as length⋅width⋅color⋅wearing method of the dress depending on the class. In the institutional environment, shielding cover was developed due to the inside and outside law and feature using Sseugae was shown on the screen. That includes Cha-Aek⋅Sseugae skirt⋅long hood⋅Jeon-Mo which women used to cover their face when they go out and among them, especially Sseugae was a popular material in genre painting and gave vivid sense of realism with various technique of expression at the same time. And last, in the case of expression of costume according to the time, length and width of Jeogori were gradually shortened and skirt width was gradually widened and lengthened to maximize the volume of costume when they were worn. Likewise, there are various expressions that shows life pattern⋅custom⋅aesthetic consciousness⋅costume history of women at that time in female portrait and among them, especially costume showed differently according to time⋅racial emotion⋅living customs. It shows that custom⋅culture⋅sense of a beauty of that time are reflected as it is, and this will allow costume form of female portraits to transcend the history of paintings and look for the humanistic social value.