놀이월령의 관점에서 본 기산풍속화 - 조선 후기 세시와 관련하여 -

Abstract

Paintings of Kim Jun-geun (artist name: Gisan) depicting everyday life of the late Joseon period, depite its ethnological values, set apart from the works of well-known painters like Kim Hong-do or Shin Yun-bok. Unlike their story-based and emotional characteristics, Gisan's work is viewed as fact and impassive aspects. His paintings are focused on the history of daily lives during the late Joseon period and shaped as an outcome of the artist's thoughts through the epistemic framing. According to the recent studies, Gisan genre paintings, a total number of 1,481, are housed in 22 places, of which 20 percent of the works presented as traditional games and performing arts. Applying the concept of the Monthly Seasons and Games with the comparison of "interest of daily life and its meaning" in the Korean ethnographic literature, this paper analyzes to find out views Gisan Kim Jun-geun objectified as traditional games. Though the 'Monthly Seasons perspective' is not fully illustrated in Gisan's paintings, the 'reconstructed world' from the point of Gisan and its recognition based on 'the existence of games at certain period' point out that Gisan's view on the Monthly Seasons is part of in his paintings. In that context, exploring significance of Gisan paintings to capture the Monthly Seasons and the genre paintings can be the one of the ways which examines the new possibilities. Monthly Seasons and Games is the product aspects of games to the Monthly Seasons system and monthly seasons representation of folk games. Recognized of the concept of time in seasonal customs and the twelve months of the year, the works are illustrated and represented of how koreans worked and played the folk games during that time. What's more important, apart from Gisan's consciousness, is that the artist focused on the result with a keen sense to capture the life of the people. Perhaps, Gisan realized that folk plays may enrich the value of sustainable living of the people, work as what the people longing for the 'happy life'. With that in mind Gisan Kim Jun-geun depicted each subject under the united understanding of a public routineness and community life. Responding to the 'ethnographic demand for folk games in Joseon period' suggested by the consumer, personal works triggered its own intention, which criteria of standards and values may set to the Monthly Seasons and Folk Games. Twenty-percent of genre paintings existing today illustrate folk games and leisures, and perhaps the idea of these paintings that portrayed by the value from Monthly Seasons and Games could merely be coincidental. Nevertheless, this is what makes Gisan an outstanding artist, and a new perspective of genre paintings he left behind. Though it is clear that this paper does not cover a comprehensive study of Gisan genre paintings scattered in Korea and abroad. And it may sound logical fallacies or lacks analytic frame when using genre paintings as a criteria with respect to folk plays, of course the following research requires improvements, this will also need an empirical test. Also, it is clear that drafting Monthly Seasons and Games based on poetry works is limited to individual artists because these works interpret a wide range of views and understanding, preference to folk games and its interest. Nevertheless, a new attempt to view Kim Jun-geun's paintings in different perspective will lead us to move to the next chapter.