20세기 인쇄 병풍화의 유행과 民畵에의 영향 : 翎毛·花鳥畵를 중심으로

Abstract

Not only the visual image such as postcards, posters, textbooks and novels illustrations, newspaper ads, etc. due to the printing technology introduced through Japan during the time of enlightenment in Korea, but also a variety of types of printed pictures such as reproduced ones by famous painters had got to be prepared. Among which bird and flower paintings were mass-produced and spread throughout the country. For printed bird and flower paintings the auspicious motifs such as pine and crane, tiger and bamboo, peonies and peacocks, eagles, a group of chickens were often used. The motifs such as pine and crane, tiger and bamboo can be also found in our Korean traditional paintings, but in the composition and style the influence of Japanese painting style is detected. The printed pictures were already introduced into the country and distributed nationwide in the 1920s, which had been used mainly in the form of a folding screen until the 1980s, in the feasting spaces, such as wedding ceremonies and the 60th birthday parties. Such folding screens were printed to form a new demand as a “new art” in the art market in the 20th century, which replaced the place of folk paintings having existed as the existing public art. Rather, the fact that folk artists have actively borrowed and transfigured the motif of the printed folding screens and tried to fit in a then fashioned taste can be found through existing handwriting folk paintings. We are looking forward to that you can identify the visual culture by newly shedding light on the relationships between printed folding screens and folk paintings in a fashion all over the 20th century, and take it a base to access the folk ones on a broader perspective.