18～19세기 한국 풍속화로 본 신분계층별 놀이문화 양상 (A Study on the Play Culture aspects by Social Classes in the 18th and 19th Centuries of Korea Genre Paintings)

서지정보

· 발행기관 : 한국동양예술학회
· 수록지 정보 : 동양예술 / 65호 / 251 ~ 280페이지
· 저자명 : 강옥희

초록

본고는 근세기 한국 풍속화에 나타난 놀이도구가 있는 놀이문화 양상을 신분 계층별로 분류하여 분석해 본 것이다. 특히 조선 후기 중인 출신 화가였던 金弘道(1745-?)와 申潤福(1758-?), 구한말 개항기에 활동했던 金俊根(1853년 전후～?) 등의 작품을 통해 전통 놀이의 전승과 변화, 놀이 성격에 초점을 맞추어 고찰하였다.
조선조에 신분계급과 성별에 따라 구분되던 놀이문화는 시대적 상황과 시대정신이 반영되어 전승 발전하거나 변화한다. 근세기(18～19세기) 놀이문화 양상의 특징은 화가의 주체 의식에 따라 서민의 놀이상을 실상 위주로 그린 서민층 풍속화가 활성화되고, 사대부의 고상한 놀이문화 이외에 유흥문화 실상을 해학적․비판적으로 그린 양반층 풍속화가 제각기 존재했다. 특히 구한말 화가 김준근은 주로 서민층 풍속을 주제로 다양한 놀이상을 서구인의 요구에 부응하는 실상 위주 수출용 그림을 많이 그렸다.
근세기 이후 전통놀이문화에 대한 인식도 새로워지고, 오늘날까지 전승되어 지속적으로 변화 발전해 온 것도 있고 부분적으로 남아있거나 사라진 것도 있다. 이런 점을 Ⅱ장에서는 당시 풍속화에 나타난 양반 계층 놀이문화의 양상을 놀이문화의 성격에 따라 尙武적, 隱逸적, 神仙적, 賭博적, 競爭적, 敎育적 놀이문화로 분류하였고, Ⅲ장에서는 서민 계층 놀이문화의 양상을 놀이문화의 성격에 따라 남성 戰鬪적, 여성 競爭적, 娛樂적, 諧謔적 놀이문화로 분류하여 비교하고 현재적 의미를 살펴보았다.

영어초록

This paper analyzes the depictions of the folk recreation culture with toys and games shown in 18th and 19th century Korean genre paintings by categorizing them into different social classes. In particular, this paper examines the works of Kim Hong-do (1745-?) and Shin Yun-bok (1758-?), who were typical jung-in (middle-class) painters in the late Joseon Dynasty, and Kim Jun-geun (circa 1853-?) and others, who was a commercial painter for export during the port opening period with a focus on the characteristics of transmission, change, and playfulness the traditional games and toys.
The folk recreation culture, which had been distinguished by social class and gender during the Joseon Dynasty, was passed down, developed, or changed by reflecting the situations and spirit of the times. The folk recreation culture of the early modern period (18th-19th centuries) is characterized by the emergence of genre paintings focused on the actual recreational activities of the common people, reflecting the consciousness of the artists, as well as genre paintings on the nobility’s refined leisure activities, which humorously and critically depicted their reality of the entertainment culture of the nobility. Especially Kim Jun-geun, a painter of the end of the Joseon Dynasty, produced many realistic, export-oriented paintings featuring various forms of common people's recreational activities, catering to the demands of Western audiences.
After the Late Joseon Dynasty, people began to have a renewed perception of the traditional folk recreation culture; some of it has been passed down to this day and has continuously changed and developed, while others have partially remained or disappeared. Through genre painting at the time, in Chapter II of this paper, we looked into the aspects of the play culture of the nobility depicted in genre paintings according to the nature of the activities, by categorizing them into the martial, reclusive, Taoist hermit-like, gambling, competitive, or educational. In Chapter III, the aspects of the play culture of the common people were classified into male militant, female competitive, recreational, and humorous play cultures according to the nature of play culture, and their contemporary significance was explored.

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