玉厓 金振汝(1675-1760)와 18세기 전반 초상화의 一變 (Kim Jinyeo(1675-1760) and the Changes in Portraiture in the First Half of the Eighteenth Century)

서지정보

· 발행기관 : 국립중앙박물관
· 수록지 정보 : 미술자료 / 81호 / 113 ~ 137페이지
· 저자명 : 문동수

초록

Joseon dynasty portraiture changed in the eighteenth century as artists attempted various new ways to convey a more naturalistic representation of the projecting part and sunken areas of faces. Painting techniques gradually departed from the tradition during the reign of King Sukjong(r. 1674-1720) when Western knowledge and culture were introduced to the Korean peninsula. The introduction of Western painting techniques following Western Learning brought about remarkable changes in traditional portraiture, which demands formal likeness(hyeongsa) and transmission of spirit(jeonsin). The series of changes that occurred toward the end of King Sukjong’s rule and continued through the King Jeongjo’s reign may be viewed as“ invention within the realm of tradition”Realistic representation based on Western techniques of shading was emphasized in early eighteenth-century portrait paintings. In particular, Ogae Kim Jinyeo, a painter active in Pyeongyang, frequently utilized the technique of contrasting shadow and light to contribute to a naturalistic depiction of the facial skeleton and muscles. He learned this technique while copying Matteo Ricci’s(1552-1610) Map of the Ten Thousand Countries of the Earth and applied it to portraits so as to enhance the three-dimensional representation of face. Kim’s artistic attempts at using Western techniques played a pivotal role in the changes of early eighteenth-century portraiture. The tendency to emphasize a high degree of physical likeness to one’s subject continued in late eighteenth- and nineteenth-century portraiture. Verisimilitude in portraiture reached a peak during this period as a result of painters’active use of Western shading techniques.
Kim Jinyeo’s portrait paintings are worthy of careful study as important art objects in that they shed light on our understanding of the changes and trends of early eighteenth-century portraiture.
This article aims to illuminate Kim Jinyeo’s biography and family background through examination of archival evidence and to investigate the changes and characteristics of early eighteenth-century portraiture by focusing on his oeuvre. Kim’s portraits of remarkable verisimilitude, achieved by the shading techniques he used, functioned as important models to stimulate the development of portraiture in the late eighteenth and early nineteenth centuries.
Kim Jinyeo and his teacher, Jo Segeol(1635-?) are recorded as representative artists in the Pyeongyang area in Notes on Poets and Poetry of Pyeongyang(Seogyeng sihwa),written by Kim Jeom. This record indicates that Kim Jinyeo enjoyed a high reputation for his painting in Pyeongyang. He was born into a yangban family rooted in Pyeongyang that had produced government officials in previous generations. Kim was well educated as a child of a family of noble literati. He studied books treasured by the family and learned painting from Jo Segeol to become a versatile, talented painter who excels in landscape, figure painting, bird-and-flower painting, and maps.
Kim Jinyeo was appointed to a civil office and started his government service with the project of copying King Sukjong’s portrait as a painter active outside the court(oebang hwasa).
He was a professional painter and served as Commander of Ten Thousand in Pyeongan Prefecture and Associate Commander. Kim Jinyeo was renowned among literati for portraits showing a high degree of verisimilitude and skillful use of colors. The fact that Kim distinguished himself in portraiture resulted from his experience in copying royal portraits twice and his apprenticeship under Jo Segeol, who excelled in creating realistic complexions for portraits. Kim’s portraits differ from seventeenth-century portraits, which primarily used red colors and line drawing. The realistic representation of three-dimensional facial expressions shown in Kim’s portraits was not influenced by his teacher, Jo, but was the result of artistic efforts to adopt new technics. Based on physiognomy, Kim applied highlights and shadows to represent projecting parts and sunken areas of the face accordingly and pursued physical likeness in his portraits. Kim’s works deserve attention because of the new techniques assayed in forging a new style of portraiture.
Kim’s emphasis on three-dimensional representation of the face in portraits is related to the issues of“ verisimilitude”that arose in copying royal portraits during King Sukjong’s rule.
Although revealing the subject’s personality and spirit is essential in painting portraits, it is impossible to create a good portrait without capturing the subject’s likeness. This circumstance encouraged many painters including Kim Jinyeo to adopt the Western techniques of painting.
Kim Jinyeo plays an important role in the development of portraiture by applying Western painting techniques to portraits in order to represent a three-dimensional effect. A number of literati, including Kwon Seop(1671-1759), a contemporaneous connoisseur, praised Kim’s portraits. Kim Jinyeo holds a key position in Korean art history because of his leading role in the innovations of early eighteenth-century portraiture.

영어초록

Joseon dynasty portraiture changed in the eighteenth century as artists attempted various new ways to convey a more naturalistic representation of the projecting part and sunken areas of faces. Painting techniques gradually departed from the tradition during the reign of King Sukjong(r. 1674-1720) when Western knowledge and culture were introduced to the Korean peninsula. The introduction of Western painting techniques following Western Learning brought about remarkable changes in traditional portraiture, which demands formal likeness(hyeongsa) and transmission of spirit(jeonsin). The series of changes that occurred toward the end of King Sukjong’s rule and continued through the King Jeongjo’s reign may be viewed as“ invention within the realm of tradition”Realistic representation based on Western techniques of shading was emphasized in early eighteenth-century portrait paintings. In particular, Ogae Kim Jinyeo, a painter active in Pyeongyang, frequently utilized the technique of contrasting shadow and light to contribute to a naturalistic depiction of the facial skeleton and muscles. He learned this technique while copying Matteo Ricci’s(1552-1610) Map of the Ten Thousand Countries of the Earth and applied it to portraits so as to enhance the three-dimensional representation of face. Kim’s artistic attempts at using Western techniques played a pivotal role in the changes of early eighteenth-century portraiture. The tendency to emphasize a high degree of physical likeness to one’s subject continued in late eighteenth- and nineteenth-century portraiture. Verisimilitude in portraiture reached a peak during this period as a result of painters’active use of Western shading techniques.
Kim Jinyeo’s portrait paintings are worthy of careful study as important art objects in that they shed light on our understanding of the changes and trends of early eighteenth-century portraiture.
This article aims to illuminate Kim Jinyeo’s biography and family background through examination of archival evidence and to investigate the changes and characteristics of early eighteenth-century portraiture by focusing on his oeuvre. Kim’s portraits of remarkable verisimilitude, achieved by the shading techniques he used, functioned as important models to stimulate the development of portraiture in the late eighteenth and early nineteenth centuries.
Kim Jinyeo and his teacher, Jo Segeol(1635-?) are recorded as representative artists in the Pyeongyang area in Notes on Poets and Poetry of Pyeongyang(Seogyeng sihwa),written by Kim Jeom. This record indicates that Kim Jinyeo enjoyed a high reputation for his painting in Pyeongyang. He was born into a yangban family rooted in Pyeongyang that had produced government officials in previous generations. Kim was well educated as a child of a family of noble literati. He studied books treasured by the family and learned painting from Jo Segeol to become a versatile, talented painter who excels in landscape, figure painting, bird-and-flower painting, and maps.
Kim Jinyeo was appointed to a civil office and started his government service with the project of copying King Sukjong’s portrait as a painter active outside the court(oebang hwasa).
He was a professional painter and served as Commander of Ten Thousand in Pyeongan Prefecture and Associate Commander. Kim Jinyeo was renowned among literati for portraits showing a high degree of verisimilitude and skillful use of colors. The fact that Kim distinguished himself in portraiture resulted from his experience in copying royal portraits twice and his apprenticeship under Jo Segeol, who excelled in creating realistic complexions for portraits. Kim’s portraits differ from seventeenth-century portraits, which primarily used red colors and line drawing. The realistic representation of three-dimensional facial expressions shown in Kim’s portraits was not influenced by his teacher, Jo, but was the result of artistic efforts to adopt new technics. Based on physiognomy, Kim applied highlights and shadows to represent projecting parts and sunken areas of the face accordingly and pursued physical likeness in his portraits. Kim’s works deserve attention because of the new techniques assayed in forging a new style of portraiture.
Kim’s emphasis on three-dimensional representation of the face in portraits is related to the issues of“ verisimilitude”that arose in copying royal portraits during King Sukjong’s rule.
Although revealing the subject’s personality and spirit is essential in painting portraits, it is impossible to create a good portrait without capturing the subject’s likeness. This circumstance encouraged many painters including Kim Jinyeo to adopt the Western techniques of painting.
Kim Jinyeo plays an important role in the development of portraiture by applying Western painting techniques to portraits in order to represent a three-dimensional effect. A number of literati, including Kwon Seop(1671-1759), a contemporaneous connoisseur, praised Kim’s portraits. Kim Jinyeo holds a key position in Korean art history because of his leading role in the innovations of early eighteenth-century portraiture.

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