불화 속 여인들의 머리형태에 관한 고찰- 서사적 내용 속의 여인들을 중심으로 -
A Study on Hair Style of Women in Buddhist Paintings - focusing on women in descriptive contents -
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
There are several types of Buddhist paintings, among which the target of this studywas the descriptive ones. The reasons why the Buddhist painting was chosen for thestudy of classical hair style were as follows: first, its temporal background is far broaderthan folk painting or genre paintings; second, the class layers in it is so diverse that itsometimes expresses the high-class women in it. During the Three Kingdoms Age, such an aspect can be also seen in the old tombs ofGoguryeo, especially in Jangcheon No.1 and Ssangyeongchong. In tre Goryeo Age, a lotof excellent descriptive paintings were produced under royal protection. Byeonsangdo andSuwolgwaneumdo were example of these. Though the Joseon Dynasty encouragedConfucianism and suppressed Buddhism, there were many Buddhist paintings. Especially,as Joseon Buddhist paintings came to be so deeply rooted into ordinary people's livesthat they were not largely constrained by the class layers, we can see not only ordinarypeople but also high-class women in them. Overlapping with the age of folk painting,Joseon Buddhist paintings went to their latter age, where the women were expressedmore diversely than in folk paintings.
Abstract
There are several types of Buddhist paintings, among which the target of this studywas the descriptive ones. The reasons why the Buddhist painting was chosen for thestudy of classical hair style were as follows: first, its temporal background is far broaderthan folk painting or genre paintings; second, the class layers in it is so diverse that itsometimes expresses the high-class women in it. During the Three Kingdoms Age, such an aspect can be also seen in the old tombs ofGoguryeo, especially in Jangcheon No.1 and Ssangyeongchong. In tre Goryeo Age, a lotof excellent descriptive paintings were produced under royal protection. Byeonsangdo andSuwolgwaneumdo were example of these. Though the Joseon Dynasty encouragedConfucianism and suppressed Buddhism, there were many Buddhist paintings. Especially,as Joseon Buddhist paintings came to be so deeply rooted into ordinary people's livesthat they were not largely constrained by the class layers, we can see not only ordinarypeople but also high-class women in them. Overlapping with the age of folk painting,Joseon Buddhist paintings went to their latter age, where the women were expressedmore diversely than in folk paintings.
참고문헌 (30)
- 조미영, "조선시대 여성의 머리 형태에 관한 연구", 한국인체미용예술학회지, 3(2), pp.253~254 (2002)
- 조선총독부, "조선고적도보" (1914), 조선총독부
- 성보문화재연구원, "한국의 불화" (1996), 성보문화재연구원
- 한국색채문화사, "한국불교미술대전" (1994), 한국색채문화사
- 키쿠타게 준이치, "고려시대의 불화" (1996), 시공사
- 강우방, "감로탱" (1995), 예경
- 중앙일보사, "한국의 미" (1996), 중앙일보사
- 유마리, "불교회화", pp.16~17 (2005), 솔 출판사
- 박은경, "조선 전기 불화의 서사적 표현, 佛敎說話圖", 美術史論壇, (21), pp.137~170 (2005), 한국미술연구소
- 조선유적유물도감편찬위원회, "조선유적유물도감 6. 고구려편 4-인물풍속및 사신도 무덤", pp.97~ (1990), 조선유적유물도감편찬위원회
- 키쿠타게 준이치, "고려시대의 불화", pp.52~ (1996), 시공사
- 일연, "삼국유사", pp.353~358 (1972), 광조출판사
- 박은경, "조선전기 불화 연구", pp.264~ (2008), (주)시공사
- 김정희, "불화", pp.41~ (2011), 돌베개
- 유희경, "한국복식사연구", pp.38~39 (1980), 이화여자대학교출판부
- 문명대, "한국의 불화", pp.127~ (1977), 열화당
- 김정희, "무덤 안에서 극락정토를 꿈구다-고분벽화 속의 불화", 계간 한국의 고고학, 1(1), pp.98~ (2006)
- 김진숙, "T.V 드라마에 표현된 조선시대 고전머리에 관한 연구 -2OOO년∼2010년도를 중심으로-", 한국인체미용예술학회지, 12(3), pp.145~161 (2011), 한국인체미용예술학회
- 이여성, "조선복식고", pp.274~276 (1947), 백양당
- 곽동해, "전통불화의 맥-그 실기와이론", pp.14~ (2006), 학연문화사
- 이정효, "장천1호분 예불도벽화의 불상양식 고찰", 석당논총, (38), pp.207~246 (2007), 석당학술원
- 김성남, "통일신라 두발 장 식문화", 한국인체미용예술학회지, 4(2), pp.102~ (2003)
- 박세환, "고려불화의 회화적 특징", 석사, 문화재, pp.2005
- 김리나, "한국불교미술사", pp.299~300 (2011), 미진사
- 홍윤식, "한국불교사의 연구", pp.249~ (1988), 교문사
- 정우택, "조선왕조시대 전기 궁정화 풍불화의 연구", 미술사학, 13(1), pp.137~ (1999)
- 이동주, "한국회화사론", pp.47~48 (1987), 열화당
- 김수현, "조선시대 관음도상과 신앙 연구", 박사, 사학, pp.2006
- 김삼수, "변발고", 동양학, 5(1), pp.523~524 (1975)
- 성보문화재연구원, "한국의 불화(2)통도사 본사편(상)", pp.75~ (1996), 성보문화재연구원