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| 001 | 2210080176840 | |
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| 008 | 960117s1992 bnkf FB 000 kor | |
| 040 | ▼a221008 | |
| 056 | ▼a653.11▼23 | |
| 082 | ▼a759.9519▼219 | |
| 100 | ▼a조윤주 | |
| 245 | 00 | ▼a朝鮮時代 花鳥畵 特性 硏究 /▼d曺允珠 著. |
| 260 | ▼a부산 :▼b東亞大學校,▼c1992. | |
| 300 | ▼aiii,49장 :▼b도판 ;▼c26cm. | |
| 502 | ▼a학위논문(석사) :▼b東亞大學校 大學院 :▼c繪畵科,▼d`92년 2월. | |
| 520 | ▼b영문초록 : Art comes from the interest in and the imitation of things around oneself. Among other objects in nature, birds and flowers have long been used in paintings. In comparison with other schools in the choson dynasty, the paintings of flowers and birds reaped a minor development but wer popularly produced under the strong infhence of chinese paintings. In spite of their peculiar role and status in Korean art history, these flower-bird paintings were scarcely studied, partly owing to the great in fluence of japanese paintings during the Japanese rule of our contry. By examining the history of these paintings as well as their significance and status in the Choson dynasty, I wanted to reilluminate their contemparary meaning. The flower-bird pictures appeared in folk, professional, and literary paintings and had four traits of plan structure, black-and-white contrast, realism, and some other schools. Among the main painters were Pyon Sang-byok, Sim Sa-jong, Kim Chi, Yi Ching, Cho Sok, Hong Se-sop, and Chang Sung-op. In conclusion, Choson paintings of flowers and birds developed simultaneously with traditional literary paintings. But the flower-bird pictures tended. to be very liberal in materials and style at each period of the Choson or Yi-dynasty. Therefore, while the biased view that they are a part of Japanese paintings should be erased, a modern sense of abstractionism has to be added to our traditional flower-bird paintings which highlighted our peoples's inner world. | |
| 650 | ▼a조선시대 화조화 | |
| 856 | ▼adonga.dcollection.net▼uhttp://donga.dcollection.net/jsp/common/DcLoOrgPer.jsp?sItemId=000002147928 | |
| 950 | 0 | ▼aFB |
| 965 | ▼a회화▼x화조화▼y조선▼z한국 |
朝鮮時代 花鳥畵 特性 硏究
종류
학위논문 동서
서명
朝鮮時代 花鳥畵 特性 硏究
저자명
발행사항
부산 : 東亞大學校 1992.
형태사항
iii,49장 : 도판 ; 26cm.
학위논문주기
학위논문(석사) : 東亞大學校 大學院 : 繪畵科, `92년 2월.
주기사항
영문초록 : Art comes from the interest in and the imitation of things around oneself. Among other objects in nature, birds and flowers have long been used in paintings. In comparison with other schools in the choson dynasty, the paintings of flowers and birds reaped a minor development but wer popularly produced under the strong infhence of chinese paintings. In spite of their peculiar role and status in Korean art history, these flower-bird paintings were scarcely studied, partly owing to the great in fluence of japanese paintings during the Japanese rule of our contry. By examining the history of these paintings as well as their significance and status in the Choson dynasty, I wanted to reilluminate their contemparary meaning. The flower-bird pictures appeared in folk, professional, and literary paintings and had four traits of plan structure, black-and-white contrast, realism, and some other schools. Among the main painters were Pyon Sang-byok, Sim Sa-jong, Kim Chi, Yi Ching, Cho Sok, Hong Se-sop, and Chang Sung-op. In conclusion, Choson paintings of flowers and birds developed simultaneously with traditional literary paintings. But the flower-bird pictures tended. to be very liberal in materials and style at each period of the Choson or Yi-dynasty. Therefore, while the biased view that they are a part of Japanese paintings should be erased, a modern sense of abstractionism has to be added to our traditional flower-bird paintings which highlighted our peoples's inner world.
관련 URL