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Ã¥°Å¸®´Â 18¼¼±â Á¶¼±½Ã´ë¿¡ ±×·ÁÁø ÈÁ¦(?ð¹)·Î º´Ç³ Çü½ÄÀÇ È¸é¿¡ Ã¥°ú µµÀÚ±â, ¹®¹æ±¸, Çâ·Î, ûµ¿±â µî ¼±ºñÀÇ Ã¥°¡(óüÊ)¿¡ ³õÀÎ ±â¹°µéÀ» ±×¸° ±×¸²À» ¸»ÇÑ´Ù. ÇѶ§ ¹ÎÈÀÇ ÇÑ Á¾·ù·Î ¿©°ÜÁö±âµµ ÇßÀ¸³ª, ±Ù·¡¿¡´Â Á¶¼±½Ã´ë ¿Õ½Ç°ú ¹®ÀεéÀÌ ¾ÖÈ£ÇßÀ¸¸ç ±ÃÁßÀÇ È¿ø µî Àü¹® È°¡µéÀÌ ±×¸° °ÍÀ¸·Î ¾Ë·ÁÁö°Ô µÇ¾ú´Ù. Ã¥°Å¸®´Â 1970³â´ë±îÁöµµ ¹ÎÈ ¾ÖÈ£°¡µé¿¡°Ô³ª °ü½ÉÀÇ ´ë»óÀ̾úÀ» »Ó, Çѱ¹È¸È»ç¿¡¼´Â º°·Î ÁÖ¸ñÀ» ¹ÞÁö ¸øÇß´Ù. ÀÌ ¹«·Æ Ã¥°Å¸®¿¡ ¸Å·áµÈ ÀúÀÚ ÄÉÀÌ E. ºí·¢(Kay E. Black)Àº µÚ´Ê°Ô °øºÎ¸¦ ½ÃÀÛÇÏ¿© Ã¥°Å¸® ±×¸²ÀÇ ¿¬±¸¿¡ ¸ôµÎÇÏ¿´´Ù. ±×¸®ÇÏ¿© ±¹³»¿Ü¿¡ »êÀçÇÑ 150¿© Á¡ÀÇ ÀÛÇ°À» ÀÏÀÏÀÌ Ã£¾Æ´Ù´Ï¸ç Á¶»çÇÏ°í ±× Èdz°ú Á¶¼º ¹è°æÀ» Ž±¸ÇÏ¿´´Ù. 1980³â´ëºÎÅÍ ´ç½Ã Á¶¼±½Ã´ë Á·º¸ ¿¬±¸ÀÇ ±ÇÀ§ÀÚÀÎ ¿¡µå¿öµå ¿Í±×³Ê(Edward W. Wagner, ÇϹöµå´ëÇÐ, 2001³â Ÿ°è) ±³¼ö¿Í °øµ¿ ¿¬±¸¸¦ ÅëÇØ »ó´ç¼öÀÇ Ã¥°Å¸® ±×¸²ÀÌ È¿ø È°¡µéÀÌ ±×¸° °ÍÀ̸ç, ±× È°¡µéÀÌ °¡°è¿¡ ÀÖ¾î ¼·Î ±ä¹ÐÈ÷ ¿¬°áµÇ¾î ÀÖ¾úÀ½À» óÀ½À¸·Î ¹àÇô³Â´Ù. µÎ »ç¶÷ÀÌ ÇÔ²² ¾´ ³í¹®Àº Ã¥°Å¸®¿¡ ´ëÇÑ º»°ÝÀûÀÎ ¿¬±¸ÀÇ ½Ã¿øÀ̾ú´Ù°í Æò°¡Çصµ °ú¾ðÀÌ ¾Æ´Ï´Ù. ÀÌ Ã¥Àº ÀúÀÚÀÇ 30¿© ³â¿¡ °ÉÄ£ Ã¥°Å¸®¿¡ ´ëÇÑ Å½±¸¸¦ Á¾ÇÕÀûÀ¸·Î Á¤¸®ÇÑ ¿¬±¸¼ÀÌ´Ù.
ÀúÀÚ´Â ÀÌ Ã¥¿¡¼ Ã¥°Å¸®¸¦ Å©°Ô ¡°Isolated type¡±(º°Ä¡Ü¬öÇ Çü½Ä), ¡°Trompe l¡¯Oeil type¡±(Æ®·ÕÇÁ·ÚÀ¯ Çü½Ä), ¡°Still Life type¡±(Á¤¹°ð¡Úª Çü½Ä)ÀÇ ¼¼ °¡Áö·Î ³ª´©¾î °¢°¢ ÁÖ¿äÇÑ ÀÛÇ°µéÀÇ ÈdzÀ» ºÐ¼®ÇÏ°í, È°¡µéÀÇ °èº¸¸¦ ¹àÈ÷¸ç, Èdz°ú °¡°è¿¡ ÀÖ¾î È°¡µé °£ÀÇ °ü°è¸¦ ÃßÀûÇÏ°í ÀÖ´Ù. ºÎ·Ï¿¡´Â Ã¥°Å¸® º´Ç³µé¿¡ µîÀåÇϴ åµéÀÇ Á¾·ù¿¡ ´ëÇÑ °Ô¸® ·¹Àúµå(Gari Ledyard, Ä÷³ºñ¾Æ´ëÇб³) ±³¼öÀÇ ºÐ¼®ÀÌ ½Ç·Á ÀÖ´Ù. Çѱ¹È¸È»çÀÇ ±ÇÀ§ÀÚÀÎ ¾ÈÈÖÁØ ±³¼ö°¡ ¼¹®¿¡¼ ÆòÇÑ ¹Ù¿Í °°ÀÌ, ÀÌ Ã¥Àº Çѱ¹È¸È»ç ¿¬±¸¿¡¼ ÀÇÀÇ°¡ Å« Áß¿äÇÑ Çй®Àû ¾÷ÀûÀ̸ç, ¾ÕÀ¸·Î Ã¥°Å¸®¿¡ °üÇÑ ±¹³»¿Ü ¿¬±¸¿¡¼ »©³õÀ» ¼ö ¾ø´Â ¼º°ú¶ó ÇÒ ¼ö ÀÖ´Ù.
Ch'aekk?ri is a subject in Korean painting that depicts books, ceramics, stationery, incense burners, bronze ware, and other objects placed on the scholar¡¯s bookshelves on folding screens dating back to the eighteenth and nineteenth centuries. Although it was once commonly considered as a genre in folk painting, it is now known to have been favored by the royal family and literati and painted by professional court artists during the Chos?n Dynasty. Ch'aekk?ri was of interest only to folk painting lovers and collectors until the 1970s and did not receive much scholarly attention in Korean painting. Around this time during her first visit to Korea, the author Kay E. Black was fascinated by ch'aekk?ri. On her return to the U.S., she went back to a graduate program at the University of Denver and started studying Asian art and Korean painting, focusing on ch¡¯aekk?ri. She visited numerous collections home and abroad and conducted meticulous research on as many as 150 examples to explore their artistic features, painters, and contextual significance. In timely collaboration with the late Professor Edward W. Wagner of Harvard University, she was able to demonstrate that many ch'aekk?ri paintings were produced by a number of professional painters who worked in the Royal Painting Bureau for the court and scholarly gentlemen. The author categorizes ch'aekk?ri paintings into three types: "Isolated," "Trompe l'Oeil," and "Still Life," and analyzes their characteristics in each type. She also traces the intricate relationships between painters in style and pedigree. The Appendix contains an examination by Professor Gary Ledyard of Columbia University of various Korean and Chinese books depicted in ch'aekk?ri paintings. As Professor Ahn Hwi-joon, an authority on Korean painting, states in the Foreword, this book is a seminal contribution to the study of this important theme in Korean painting and an indispensible work in any further scholarly pursuit of this subject in future research. |
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Foreword by Ahn Hwi-joon
Acknowledgements
List of Publications by the Author
1. Korean Ch¡¯aekkori: Introduction
2. Ch¡¯aekkori and the Korean Court
3. Overview of Isolated Type Ch¡¯aekk?ri
4. Isolated Type Embroidered Ch¡¯aekk?ri
5. Identified Artists of Isolated Type Ch¡¯aekk?ri
6. Isolated Type Ch¡¯aekkori by Yi Hy?ng-nok/Yi T¡¯aek-kyun
7. An Isolated Type Ch¡¯aekk?ri by Yi To-y?ng
8. Three Isolated Type Corner Ch¡¯aekk?ri Screens
9. An Isolated Type Theatrical Ch¡¯aekkori
10. Two Twentieth-Century Isolated Type Ch¡¯aekk?ri by S?ktang
11. Overview of Trompe l¡¯Oeil Type Ch¡¯aekk?ri
12. Peep Box Trompe l¡¯Oeil Type Ch¡¯aekk?ri
13. Trompe l¡¯Oeil Type Ch¡¯aekk?ri at the Choson Court: A Late Chos?n Period Artist with Three Different Names
14. The Antiquarian Spirit in Trompe l¡¯Oeil Type Ch¡¯aekkori
15. An Atypical Ch¡¯aekkori and Its Anonymous Painter
16. The Identification of Kang Tal-su: A New Piece in the Ch¡¯aekkori Jigsaw Puzzle
17. A Ch¡¯aekk?i in Honor of Kim Ki-hy?n¡¯s Seventieth Birthday
18. A Trompe l¡¯Oeil Theatrical Ch¡¯aekkori
19. An Eight-Panel European Palette Trompe l¡¯Oeil Type Ch¡¯aekkori
20. A Two-Panel European Palette Trompe l¡¯Oeil Type Ch¡¯aekkori
21. Yi To-y?ng: Yangban Artist of Court Style Ch¡¯aekkori
22. Overview of Still Life Type Ch¡¯aekkori
23. Ch?nnam-Style Still Life Type Ch¡¯aekk?ri
24. The Royal Ontario Museum Cycle-Dated Ch¡¯aekkori
25. Gnomon Ch¡¯aekk?ri
26. Seal Script Ch¡¯aekk?ri
27. The Leeum ¡°Door¡± Ch¡¯aekk?ri
28. Former Gruber Collection Eight-Panel Ch¡¯aekk?ri
29. The Elegant Ch¡¯aekk?ri
30. Conclusion
Appendix ¥° Book Titles and Related Inscriptions in Ch¡¯aekkori Screens
Appendix ¥± Titles of Books on Shelves and Tables: Introductory Notes by Gari Ledyard
Glossary
List of Figures
List of Exhibits
Bibliography
Index |
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ÄÉÀÌ ºí·¢(1928~2020)Àº ¹Ì±¹ÀÎÀ¸·Î 1973³â óÀ½ Çѱ¹À» ¹æ¹®ÇßÀ» ¶§ Çѱ¹¹Ì¼ú¿¡ ¸Å·áµÇ¾î 40´ë¿¡ µ§¹ö´ëÇп¡¼ ´Ù½Ã Çѱ¹¹Ì¼ú»ç °øºÎ¸¦ ½ÃÀÛÇÏ¿© ¼®»çÇÐÀ§¸¦ ¹Þ¾Ò´Ù. ±× µÚ Ã¥°Å¸®¸¦ ºñ·ÔÇÑ Çѱ¹¹Ì¼ú ¿¬±¸¿¡ ¸ôµÎÇÏ¿© ¿Í±×³Ê¿Í ÇÔ²² ¡°Ã¥°Å¸® ±×¸²¡±(1993)°ú ¡°±ÃÁß ½ºÅ¸ÀÏ Ã¥°Å¸®¡±(1998) µîÀÇ ³í¹®À» ¹ßÇ¥ÇÏ¿´´Ù. ¶ÇÇÑ ¿¡Ä«¸£Æ® µ¥°Ô¿Í ÇÔ²² ¹ßÇ¥ÇÑ ¡°»óÆ® ¿ÀÆ¿¸®¿£¼öµµ¿ø ¼ÒÀå Á¤¼±ÀÇ Áø°æ»ê¼öÈ¡±(1999/2000)¿¡¼´Â ÀÌ ±×¸²¿¡ ±×·ÁÁø ±Ý°»êÀÇ ½ÃÁ¡¿¡ ´ëÇØ Ã¢ÀÇÀûÀÎ Çؼ®À» Á¦½ÃÇÑ ¹Ù ÀÖ´Ù.
received a master¡¯s degree at the University of Denver. Her publications include such articles on ch¡¯aekkŏri as ¡°Ch¡¯aekkŏri Paintings: A Korean Jigsaw Puzzle¡±(1993) and ¡°Court Style Ch¡¯aekkŏri¡±(1998), both coauthored with Edward W. Wagner. She also published ¡°St. Ottilien¡¯s Six ¡®True View Landscapes¡¯ by Chŏng Sŏn¡± with Eckarte Dege, which presents an inspring, new interpretation of the viewing spot of Diamond Mountain in the painting.
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¹Ì±¹ ¿ÀÇÏÀÌ¿ÀÁÖ Å¬¸®ºí·£µå¿¡¼ ž, 1941³â¿¡ ÇϹöµå´ëÇп¡ ÀÔÇÐÇØ 1943³â±îÁö °øºÎÇÑ ÈÄ À°±º¿¡ ÀÔ´ëÇØ 1946³â±îÁö ±Ù¹«Çß´Ù. À̾î 1946³âºÎÅÍ 1948³â±îÁö Çѱ¹¿¡¼ ¹Ì±ºÁ¤ ¹®°üÀ¸·Î ¿Ü±³ ¾÷¹«¸¦ ´ã´çÇßÀ¸¸ç, ÇϹöµå´ëÇÐÀ¸·Î µ¹¾Æ¿Í 1949³â¿¡ Á¹¾÷ÇÏ°í 1951³â¿¡ µ¿¾Æ½Ã¾Æ Áö¿ªÇÐÀ¸·Î ¼®»çÇÐÀ§¸¦ ¹Þ¾Ò´Ù. °ð ¹Ú»ç °úÁ¤¿¡ ÀÔÇÐÇØ 1953³â¿¡¼ 1955³â±îÁö ÀϺ» µ§¸®ô¸×â´ëÇп¡¼ ´ÙÄ«ÇϽà µµ·çÍÔÎéúû ±³¼ö·ÎºÎÅÍ Çѱ¹»ç¸¦ Áöµµ¹Þ¾Ò´Ù. 1959³â¿¡ ¹Ú»çÇÐÀ§¸¦ ¹Þ¾ÒÀ¸¸ç ÇϹöµå´ëÇп¡¼ Çѱ¹¾î °Á¸¦ ´ã´çÇß´Ù. ¿Í±×³Ê´Â 35³â ³Ñ°Ô ÇϹöµå´ëÇп¡¼ Çѱ¹ÇÐÀÇ °³Ã´°ú ¹ßÀüÀ» À§ÇØ Çå½ÅÇßÀ¸¸ç ±×ÀÇ ³ë·ÂÀ¸·Î ÃàÀûµÈ ¿ºÄªµµ¼°ü ³» Çѱ¹ÇÐ ÀÚ·á½ÇÀº ¼±¸ Çѱ¹Çבּ¸ÀÇ Áß½ÉÀÌ µÇ¾ú´Ù. ¶ÇÇÑ ÇÏ¿ÍÀÌ´ëÇÐÀÇ ¿¡µå¿öµå ½¶Ã÷¿Í ÇÔ²² ¿µ¾î·Î ¹ø¿ªÇÑ À̱â¹é ¼±»ýÀÇ ¡ºÇѱ¹»ç½Å·ÐThe New History of Korea¡»Àº Çѱ¹Çп¡¼ ÀÏÁ¾ÀÇ ÁöÇ¥ ¿ªÇÒµµ °âÇÏ°í ÀÖÀ» ¸¸Å Áß¿äÇÏ´Ù. ±×´Â Á¤³â ÀÌÈÄ¿¡µµ ¼ÛÁØÈ£¿Í Æò»ý¿¡ °ÉÃÄ °øµ¿À¸·Î ÃßÁøÇØ¿Â '¿Í±×³Ê-¼Û ¹®°ú¹æ¸ñÇÁ·ÎÁ§Æ®'ÀÇ ¿Ï¼ºÀ» À§ÇØ ¾Ö½èÀ¸³ª ¿Ï¼ºµÇ´Â °ÍÀ» º¸Áö ¸øÇÏ°í 2001³â 11¿ù 7ÀÏ¿¡ ÀÛ°íÇß´Ù.
Edward W. Wagner (1924-2001) is the late professor and founder of Korean Studies at Harvard University. He was a specialist on Chos?n dynasty history and the leading expert on Korean genealogy.
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Gari Ledyard (1932-) is Sejong Professor Emeritus of Korean History at Columbia University. He wrote on diverse aspects of the Kory? and Chos?n dynasties including the invention of the Korean alphabet, Han'g?l, during the fifteenth century.
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Kay E. Black
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