특집 : 민화문자도의 의미와 사회적 역할
분야
예체능 > 미술
저자
진준현 ( Jun Hyun Jin )
발행기관
미술사와 시각문화학회
간행물정보
미술사와 시각문화 2004년, 제3권 68~95페이지(총28페이지)
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    영문초록
    With their decorative quality and symbolic meaning, minhwa or folk paintings have been regarded as an invaluable part of Korean palming history and have drawn much scholarly attention. Among various types of minhwa, muncha-do or paintings of Chinese characters take an important position. The origin of depicting characters as a painting theme can be traced to ancient China, but Korea developed a much more diverse and sophisticated approach to muncha-do. Muncha-do can be classified into two basic types. The first type is hyoje muncha-do which illustrates eight characters naming (he cardinal Confucian virtues: hyo (filial piety), che (brotherly love), chung (loyalty to king), sin (trust), ye (propriety), cui (righteousness), yeom (integrity) and chi (humility). The great majority of muncha-do exemplify this first type. The second type depicts other characters such as su (longevity) and pok (happiness), etc. The stylistic development of munja-do reflects the social transformation of the late Choson period and can be discussed in three phases. In the 18th century characters maintained their recognizable shapes. Muncha-do creared during this period were usually commissioned by members of the royal family and literati elite and painted by court and professional painters, reflecting the prosperity and the sta-bility of the period. Muncha-do dating [Q the early and middle 19th century illus (rate a dynamic and free style, During this period, local painters produced muncha-do for the common people exhibiting the creativity and the vitality of the society at the time, Muncha-do of the late 19th and early 20th centuries show a stylistic decline with less craftsmanship and originality, which mirrors the waning fortunes of the dynasty.
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