Abstract
The purpose of this paper is to analyze the aspects of ‘mise en abyme’ in Dongin Kim’s Gwanghwasa which is one of the representative works of the artist's esthetic tendency. First of all, the work consists of a story about a painter that the narrator creates. The portrait of the painter Solgeo is also introduced as ‘mise en abyme’, which is overlapped with the story created by the narrator. The name of the painter in the novel, which is the same as that of Solgeo, a great painter in the Shilla Dynasty, reminds us of the pursuit of living painting. The pupil of the portrait of an absolute beauty that the painter in the novel tried to complete with a blind girl as a model is completed with ink splashed from an inkstone that the model bumped into while dying. The pupil of the portrait becomes a dramatized image of ‘mise en abyme’, which opens the abyss to the work as a dynamic qualitative change from a lifeless painting to a absolute living portrait.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
