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신윤복의 그림 청금상렴에 대한 개인적 그림에 대한 설명 및 건해, 그림 첨부
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‘What is the gender of artist Sin Yun-bok at the late Choson dynasty?’ Recently, this question has become one of the most interesting issues among Korean people who are regularly watching Korean dramas. One of the Korean broadcasting companies stimulates Korean people’s attention by focusing on a particular historical person in one of its major productions. Commonly, most people believe that Sin Yun-bok was a man of an art official; however, due to the lack of recorded in history regarding his gender. Of course, a female was unable to hold an official rank during the Choson dynasty. Therefore, this drama was able to focus on the unreality history fact that the gender of Sin Yun-bok was a woman. In the book, Korea Art Guide, the author, Park Seung-u, said that Sin’s paintings were illustrated from a woman’s pint of view . In other words, if Sin Yun-bok was man, he might not have described as the woman’s character. In my opinion, there is no proof about this fact, most of his paintings are delicate and fine as if images were painted by woman. In fact, my opinion could be stereotype or prejudice since some woman painters draw their picture as man’s style. However, the thing I would like to discuss is not about the gender, but of Sin’s painting style in his work of art. As much as Sin Yun-bok is considered to be a woman, the paintings are likely to be feminine. Especially, the art work, “Party by the Lotus Pond”, known normally as “Chung Gum Sang Ruyn” in Korean, that I choose to describe, shows the traits that are elegance, daintiness, and beautiful. Hence, to consider these characters, I will analyze the subject matter, material, composition, space, line, brush stroke, color with various points of view.
참고 자료
Park, Seung-u. Korea Art Guide. Seoul: Yekyong Publication Co, 2002. 65 -67
Kim, Nam-sun. “Sin Yun-bok In The Spotlight” Korea,
http://world.kbs.co.kr/english/culturenlife/culturenlife_realfield_detail.htm?No=1308
(accessed Nov.16. 2008)
Mckillop, Beth. Korean Art and Design. New York: Perennial, 1992. 126
Park, Seung-u. Korea Art Guide. Seoul: Yekyong Publication Co., 2002. 65 -67
Mullany, Francis. Symbolism in Korean Ink Brush Painting. England : The Bath Press, 2006. 48, 65
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