조선 후기 여협도(女俠圖) 연구

Abstract

First appearing in unofficial records during the Later Han period in China, Women’s Chivalry became a frequent topic of literature in the Tang Dynasty and fictions such as Hongsun and Sugeunrang garnered popularity. Later in the Ming Dynasty, illustrations were inspired by literature with women as protagonists based on the success of a variety of plays and novels, also resulting in artists producing paintings on Women’s Chivalry.
 Meanwhile in Joseon, as a result of two wars, chivalry was an emerging interest in literature, drawing attention to novels and paintings on Women’s Chivalry as well. Introduced in the Goryeo Dynasty, Chinese novels on Women’s Chivalry became widely popular and read and in the 17th century, and paintings on Women’s Chivalry such as Guyoung’s Yuhyupdo and Maeng Youngkwang’s Paegummiindo were circulated and appreciated among writers. In Korea, Women's Chivalry became a frequent topic of painting during the Late Joseon Dynasty with the main character of the Tang Dynasty’s novel Hongsun as a prominent inspiration. The reason for this prominence of Hongsun appears to be a combination of factors, including the impact of Chinese literature, the impact of artists such as Guyoung and Maeng Youngkwang and their paintings of Women’s Chivalry, and the association with naksindo paintings. Iconically, images reminiscent of sword dance were drawn with a beautiful woman holding a sword with her robe fluttering in the wind.
 Paintings of Women’s Chivalry in the Late Joseon Dynasty can be represented by eight paintings; iconically, the paintings can be classified into Maeng Youngkwang’s (孟永光, 1590-1648) style and Yunduseo’s (尹斗緖, 1668-1715) style. In Mangyunggwang’s paintings, the women produce a static atmosphere as she stands or sits gazing at somewhere, while in Yunduseo’s paintings, the paintings have a strong dynamic image as women are shown flying in the air motivated by a scene from a novel.