그림과 찬으로 화폭 위에 남긴 朝ㆍ日 인사들의 교유

Abstract

Throughout Sinographic cultural sphere in wich people used, it was natural that a painting have a panegyric for it. Panegyrics mean certain words which are inspired by the paintings' theme, and are supposed to be combined with paintings on the canvas. So the panegyric explains and extends the meaning of the painting. A piece of work should be understanded as a combined structure of layered meanings- not just as a painting neither just as a phrase. When members of Joseon Tongshinsa and Japanese of Edo era met, they exchanged many paintings and panegyrics. when they make a piece of work together by attaching some panegyrics to each others paintings, they had to consider others taste, because although they shared Sinographic culture, their taste for art were significantly different. For example, in Edo era Japan was a country of Samurais and merchants, while Joseon was a country of Confucian scholars and bureaucrats. People from Joseon thought being interested in material things are shallow, while Japanese of Edo era didn't think so. Painters and writers from each country knew they had different point of view, so tried to deal with this problem. And this study's first goal is to figure out how they considered each other's taste for art. Throughout Joseon Tongshinsa's 12 visits to Japan, many paintings with panegyrics had been exchanged between Joseon And Japan, and they have been studied well by previous studies done by Korean and Japanese researchers. But in previous studies, any attempt to analyze those pieces of works in balance between literary and pictorial aspect hasn't made. A piece of work was only studied as a painting, without considering literary aspect of the pieces. This study aims to analyze the literary aspect of works by studying panegyrics and how those works were made, and so to understand the pieces of work as a full text. And futhumore, how people with very different taste for art made pieces of work together.