Folk Painting Research Articles

The vanishing images and ornaments of the unknown Northern folk painting: findings of field studies in the Vashka, Vym and Vychegda rivers in 2016-2019

the vanishing images and ornaments of the unknown Northern folk painting: findings of field studies in the Vashka, Vym and Vychegda rivers in 2016-2019

Western Collection of Folk Painting from the Late Joseon Period

In the early nineteenth century the licensed stores around Jongno and the Gwangtonggyo Bridge, called sijeon, began to embrace shops selling paintings. The establishment of the art stores owed much to an increased demand of Minhwa or Korean folk painting, along with the rise of the nouveau-riche, in the period. A mid-nineteenth-century lyric “Hanyang-ga” introduces a variety of pictorial subjects while describing folk paintings from the market: the diversification reflects a greater demand and supply as well as burgeoning transactions of Minhwa. Although a large number of folk paintings dating nineteenth century survive today, unfortunately they rarely provide concrete evidence as to what kind of Minhwa the art stores of the period dealt in. In the late nineteenth century a wealth of folk paintings flew into the hands of Western collectors, who visited Joseon for the sake of ethnographic materials. Notable figures include J. B. Bernadou (1858~1908) from the United States who began collecting Minhwa in 1885, Charles Varat (1842~1893) from France who arrived in Joseon in 1888, and Carlo Rossetti (1786~1948), an Italian collector of the early twentieth century. They brought together folk painting as visual materials displaying the local life and customs of the common people. And yet their collections, now in the Musée national des arts asiatiques Guimet, Paris or in the museums of the Smithsonian Institution, USA, serve as valuable assets to demonstrate what type of Minhwa the market of late nineteenth Seoul traded in. This essay examines a select of paintings from the Western collections that bear a possibility of cross-checking. First, Magpie and Tiger turns out to have been one of the popular Minhwa as Bernadou and Varat alike purchased, albeit no record as to its trade in the market. The magpie and the tiger are the iconography into which local painters have transformed, and mimicked, what court painters had stylistically established. Likewise, Phoenixes and Birds and Flowers are based on court styles. A group of a rooster, a dog, a lion, and a tiger, which “Hanyang-ga” mentions, is a painting to decorate built-in closets. Chaekgeori, or painting of scholar’s accoutrements, was favored by the upper class, but its mediocre versions sold well in the market. It is remarkable that many paintings in the market imitated, or attempted to emulate, court painting style: they in general copied or reconstructed the refined prototypes by court painters. In other words, the paintings from the market in Seoul show how Minhwa expand its horizon. This paper also looks into formats of Minhwa and their uses. Vertical formats were primarily for the entrance of rooms, and the square paintings of the four animals for either closet doors or the inner side of windows. Tailored at a fixed rate, horizontal formats were in use of adorning the lintel above a room door. Such domestic uses of folk paintings are illustrated in photographs and pictures from the early twentieth century. The photographic images show, more clearly than any other literary sources, how folk paintings were used in the actual living space. The collections of Bernardou and the like-minded make it possible to begin substantial studies on Korean folk painting. They speak to the cultural milieu of Minhwa from the late Joseon period, calling for the need of more systematic examinations on it. Eventually this study will contribute to define anew the historical status of Minhwa, which developed into diverse ways over the nineteenth century, especially through an articulation of the relationship between the court and folk paintings.

복(福)·녹(祿)·수(壽)의 의미가 담긴 민화를 응용한 백일기념 저고리 디자인

복(福)·녹(祿)·수(壽)의 의미가 담긴 민화를 응용한 백일기념 저고리 디자인

Ideal Wonderland: Korean “Eight Views of Xiao-Xiang” Poems and Folk Paintings in Joseon Dynasty

Ideal Wonderland: Korean “Eight Views of Xiao-Xiang” Poems and Folk Paintings in Joseon Dynasty

Observations on the Correlation between Designs on White Porcelain and Folk Paintings of the Late Joseon Period

Observations on the Correlation between Designs on White Porcelain and Folk Paintings of the Late Joseon Period

Творчість Євгена Лисика та балетний театр

The main pupose of the study is to highlight the problem of formation in the artistic manner of the outstanding stage designer in Lviv, his unique painterly style and technique of performance of a considerable part of his monumental-art canvases. Methodology. A complex of methods has been used in this study, namely: historical, comparative, typological, descriptive, visual, iconographic (image principles and methods), technological, analysis and summary; documentary; artistic and stylistic (analysis of the manner of individual artists, their schools, separate artistic epochs; philosophical (essentiality and phenomenon; content and form; necessity and chance, etc.); deductive and inductive methods, art analysis method. These methods have allowed to examine the art stylistics and imaginative manner of Yevhen Lysyk in his design of choreographic works. Scientific novelty. Scientific novelty lies in a deep research of spiritual world perception of the individual artistic manner and a unique scenic style of the outstanding stage designer in Lviv in the context of ballet show stage setting. Conclusions. Results of this research give reason to affirm, that his artistic manner has been characterized by lightness and intemperance, academicism and pioneering, while his logically thoughtful ideological concept has been subordinated to philosophical-symbolic, metaphoric modules (“Spartacus” of A. Hachaturyan, 1965, “The Creation” of A. Petrov, 1972, “The Nutcracker” of P. Tchaikovski, 1982, etc.). The combination of academic and folk painting created the new national style with the elements of folk-mythological images in designing ballets (“The Color of Fern” of Ye. Stankovych, Kyiv, 1978). Through the years of his artistic work Yevhen Lysyk has developed his own style and creative manner, that have no direct borrowings neither in the ancient, nor in modern Art. The main idea of his works has been looked through the prism of his spiritual world perception, while the scenic style and technique are the means of personification of the artistic image, to bring a man closer to the Creator.

민화 속 고양이를 활용한 텍스타일 디자인 개발

민화 속 고양이를 활용한 텍스타일 디자인 개발

A LIVING TEMPLE - (PHAD PAINTING IN RAJASTHAN)

I consider Phad Painting as a valuable pilgrimage of Rajasthan. Phad painting (Mewar Style of painting) or Phad is a stye religious scroll painting and folk painting, practiced in Rajasthan state of India. This is a unique scroll making folk art; this style of painting is traditionally done on a long piece of cloth or canvas, known as phad. It is synonymous with the Bhopa community of the state.
 These are beautiful specimen of the Rajasthani cloth paintings. The narratives of the folk deities of Rajasthan, mostly of Pabuji and Devnarayan- who are worshipped as the incarnation of lord Vishnu & Laxman. Each hero-god has a different performer-priest or Bhopa. The repertoire of the bhopas consists of epics of some of the popular local hero-gods such as Pabuji, Devji, Tejaji, Gogaji, Ramdevji.The Phad also depict the lives of Ramdev Ji, Rama, Krishna, Budhha & Mahaveera. The iconography of these forms has evolved in a distinctive way.
 Shahpura in Bhilwara district of Rajasthan are widely known as the traditional artists of this folk art-form for the last two centuries. Presently, Shree Lal Joshi, Nand Kishor Joshi, Prakash Joshi and Shanti Lal Joshi are the most noted artists of the phad painting, who are known for their innovations and creativity. Noted examples of this art are Devnarayan Ki Phad and Pabuji Ki Phad.

Cultural Folk Paintings of Nimar

Indian folk arts establish the ethos of life and the foundation of folk culture. The culture and civilization of Nimar can be seen in folklore, folklore, folk paintings. The inclusion of symbols in the making of various Teej-festivals folk paintings shows the presence in their sociality. Parallel development of a beautiful beautiful painting tradition of land ornamentation with paintings made on the occasion of rituals. The design of geometrical form is reflected in land ornamentation. Jyoti, Nag, Kuldevi, Dussehra, Bhayuduj, Sureti, Ahoi Ashtami, Sanjhafuli, Diwali Hatay, Manna, Satiya, Check Kalash etc. are prominent in the mural paintings. The basic feeling of folk paintings is graphical. For illustration, the primary colors are red, yellow, blue, green, black and white, etc. The artist prepares the traditional method. There is no definite rule of color legislation in folk paintings and styles of making paintings are like stereotypes. Every activity in life tries to express in pictures the folk artist. Due to the influence of modern modernity, activities related to the picture tradition are now getting reduced. There is a need to save these colors so that this art flourishes.
 भारतीय लोक कलाऐं जीवन के आचार-विचार तथा लोक संस्कृति की नींव स्थापित करती है। निमाड़ की संस्कृति व सभ्यता, को लोकगीत, लोककथा, लोकचित्रों में देखा जा सकता है। विभिन्न तीज-त्यौहारों लोक चित्रों के बनाने में प्रतीकों का समावेष उनकी सामाजिकता में उपस्थिती को दर्षाते है। अनुष्ठानों के अवसर पर बनाये जाने वाले चित्रों के साथ भूमि अलंकरण की एक मांगलिक सुन्दर चित्र परम्परा का समानान्तर विकास हुआ है। भूमि अलंकरण में ज्यामितीय रूप के आकल्पन की प्रमुखता दर्षित होती है। भित्ती चित्रों में जीरोती, नाग, कुलदेवी, दषहरा, भाईदूज, सुरेती, अहोई अष्टमी, सांझाफूली,दीवाली हाते, मांड़ना, सातिया, चैक कलष आदि प्रमुख है। लोक चित्रों की मूल भावना रेखांकन की होती है। चित्रण के लिये लाल, पीला, नीला, हरा, काला और सफेद आंिद प्राथमिक रंगों को कलाकार पारम्परिक विधि से तैयार करते है। लोक चित्रों में रंग विधान का कोई निष्चित नियम नहीं होता है व चित्रों को बनाने की शैलियाॅं रूढ़ि की तरह होती है। जीवन की प्रत्येक गतिविधि को चित्रों में व्यक्त करने की कोषिष लोकचित्र कलाकार करता है। वर्तमान आधुनिकता के प्रभाव के कारण चित्र परम्परा से जुडे़ क्रिया कलाप अब कम होते जा रहे है। आवष्यकता है कि इन कलारूप को सहेजा जाए जिससे यह कला पल्लवित पुष्पित होती रहे।

민화장 박효영 작가의 기록화적 재평가

민화장 박효영 작가의 기록화적 재평가

다문화사회의 문화적 특성을 반영한 텍스타일디자인 콘텐츠 개발 연구 : 중국, 베트남, 일본의 민화를 중심으로

다문화사회의 문화적 특성을 반영한 텍스타일디자인 콘텐츠 개발 연구 : 중국, 베트남, 일본의 민화를 중심으로

민화전시 관람동기가 만족도를 통해 행동의도에 미치는 영향

민화전시에 대한 선행 연구들은 민화작품의 역사적 가치, 의미 연구, 작품 활용 방안 등 시대적 흐름으로서의 민화에 대해 연구되어왔다. 특히, 민화전시산업으로서 민화전시에 대한 연구가 필요함에도 불구하고 민화전시의 실증적인 발전방향에 대한 연구는 진행되지 않은 편이다. 또한 산업별로 만족도와 행동의도의 인과관계는 다르게 나타나고 있다. 그러나 일부 문화예술연구는 인과관계 파악에 그치고 있다. 이에 본 연구에서는 민화전시 관람동기가 행동의도에 미치는 영향을 검증하고자 구체적으로 부트스트래핑을 통해 매개효과의 통계적 유의성을 실증분석하고자 하였다. 연구결과, 구전의도에는 교류동기만이 완전매개효과가 있는 것으로 나타났다. 재관람의도에는 일상탈출동기와 유능성동기만이 완전매개효과가 있는 것으로 나타났다. 그러나 지적동기와 교류동기는 부분매개효과가 있는 것으로 나타났다. 이에 본 연구에서는 민화전시의 학문적 가치뿐만 아니라 실무적 활용방안 및 문화산업으로의 민화전시의 마케팅 방안에 관한 전략적 시사점을 구체적으로 제시하였다.

〈오동폐월(梧桐吠月)〉 형식의 전형 연구

〈오동폐월〉은 오동나무 밑에서 개가 달을 보고 짖고 있는 그림이다. 이러한 형식의 그림은 조선 후기 이후 집중적으로 제작되며 하나의 전형으로 정착되었다. 특히 장승업을 중심으로 그의 문하들이 이를 수용함으로써 정형화되고 있다. 오동나무와 개, 그리고 달의 조합은 단순한 서정의 표출로 읽힐 수도 있지만, 고전적인 동양회화에 있어 화면에 등장하는 개개의 사물들은 모두 의미와 상징을 통해 특정한 의미를 전달하는 것을 상기할 때 이러한 전형의 구축은 단순한 조형적 조합이나 서정에 그치는 것이 아닐 것이다. 오랜 역사적 발전과정을 거쳐 다양한 시대의 변화를 수용함으로써 풍부해지고 완정해진 전통회화의 발전 과정을 미루어 볼 때 이러한 전형의 구축 역시 필연적인 과정과 함의를 내재하고 있음이 자명하다.BR 이러한 전형은 민화 〈문배도〉에서도 발견되고 있어 일정한 연관 관계를 추측해 볼 수 있다. 〈문배도〉는 대개 길상과 벽사의 의미를 지닌 호랑이나 닭, 개 등의 동물 형상을 이용해 제작된다. 그중 개 그림의 문배도는 종종 오동나무와 함께 그려진다. 동양회화의 기본 조형 방식이 대상에 대한 묘사나 재현이 아닌 사물이나 상황을 빌어 작가의 사상이나 감정, 혹은 특정한 의미를 표출하고자 하는 것이다. 개와 오동나무의 조합을 통한 〈문배도〉의 제작은 특정한 의미를 지닌 것임에 자명하다. 이러한 화면의 내재적 함의는 화면의 주요 구성요소인 오동나무와 개 등의 상징성을 통해 읽어 낼 수 있을 것이다. 본 논문은〈오동폐월〉 중 개와 오동나무가 함께 등장하는 작품 양식의 원형을 유추해보고, 주요 구성요소인 오동나무와 개 등의 문화적 상징성의 연구를 통해 그 함의를 규명하고자 한다.

민화의 해학적 표현 특성을 활용한 패션 일러스트레이션 개발

민화의 해학적 표현 특성을 활용한 패션 일러스트레이션 개발

A Study on Folk Painting Elements in Gamrotaenghwa(Buddhist Nectar Ritual Painting) During the Late Joseon Dynasty

A Study on Folk Painting Elements in Gamrotaenghwa(Buddhist Nectar Ritual Painting) During the Late Joseon Dynasty

전통문화에 수용된 상상 동물의 도상해석학적 분석 - 사령수(四靈獸) 민화를 중심으로 -

전통문화에 수용된 상상 동물의 도상해석학적 분석 - 사령수(四靈獸) 민화를 중심으로 -

전통문화에 수용된 상상 동물의 도상해석학적 분석 - 사령수(四靈獸) 민화를 중심으로 -

The purpose of this study is to apply iconology to discover the symbolic system of imaginary animals focused on four representative auspicious animals in Korean folk paintings. Study methods included literature review of folk paintings, iconological analytics books, and articles. A total of 16 folk paintings of four auspicious animals in the Joseon Dynasty were analyzed using Panofsky`s iconology. The four auspicious animals were Yong(dragon), Bonghwang(the eastern version of the phoenix), Shingoo (divine turtle), and Kirin(one-horned combination of a dragon and horse). According to iconological analysis, Yong is a typical symbol of royal authority, a deity of water as an object of respect with a remarkable talent of transformation, and in iconographical interpretation, represents reverence for transcendent power. Bonhwang is the symbol of a king, sun worship, the emblem of nobility and integrity, and in iconographical interpretation, the psychic bing in the sky. Shingoo is fortune prophecy, longevity and immortality, an envoy of deity, and according to iconographical interpretation, the organic view of the world. Kirin is a divine benign creature, a symbol of talent and honor, mediator between sky and earth, and in iconographical interpretation, an expression of Confucian ideology. This study produced three results. First, the four auspicious animals projected the human hope to overcome human limitations through divine creatures with mythical abilities. Second, they reflected everyday common hopes and values of pursuing fortunes and happiness. Third, the four auspicious animals` iconology was not independent of each other; it seemed to be common to and combined with each other.

Application of Korean Folk Painting in Modern Design

The folk painting is a precious legacy that the Korean people inherit from their ancestors, all of the folk paintings contain the thoughts and feelings of the people at that time, as well as the ideal and the desire of the people at that time. South Korea's folk painting is practical and life style of painting, folk painting in the composition and design of the rich skills and the era of international comparison, the perspective of the use of the people to establish the legitimacy of the Oriental culture. The paper, cloth, etc. to use ceramic material for the classification, application of modern works of folk painting material design of the calendar design; fashion design; ceramic design. To explore the application status of the Korean national painting in modern design, we can find out the art value and beauty of folk art, and use it in the modern design to develop a new image of the works.

옛 시문과 그림으로 살핀 관동팔경(關東八景)의 형상화 및 정착시기

관동팔경의 형성과정에 주목하여, 문헌 및 도상자료의 분석과 해석을 통해 관동 명승의 집경에 따른 팔경 형상화 및 정착시기를 탐색한 본 연구의 결론은 다음과 같다. '관동팔경(關東八景)'이란 최초 용례(用例)는 이황의 "답홍응길(答洪應吉)"로 볼 때, 관동팔경은 이미 16세기 이전 당시 인들의 인식 속에 존재하였을 것으로 추론된다. "신증동국여지승람"을 비롯한 지리지 분석 결과, 관동팔경은 16세기 초 중반에 관동십경으로의 확장 또한 이루어졌다. 최초의 관동팔경에 대한 집경은 신즙의 "영관동팔경(詠關東八景)"으로 확인됨에 따라 관동팔경이라는 용어는 문학 분야에서는 최소한 16세기 이전부터 존재하였으며 현재의 세트화된 관동팔경으로 정착된 시기는 늦어도 17세기 초반이라 추정된다. 관동 명승의 출현빈도 분석 결과, 시문에 등장한 관동 명승은 관동팔경 경물에 대한 집중현상이 뚜렷하였다. 한편 회화 분야에서 오로지 관동팔경만을 모은 그림은 허필의 "관동팔경도병(關東八景圖屛)"에서 최초로 확인되는데 실경산수화에서 표현된 관동팔경은 시문에서의 집경 양상과 유사한 경향을 보이지만 화제 출현률 순위로 볼 때 시각적 결속력과 응집성이 더욱 강하게 드러났다 이는 일정한 관념체계 상 특정 의의를 지닌 회화의 도상(圖像)을 중요시하는 특성이 반영된 결과로 판단된다. 더불어 조선 후기에서 근대에 들어 제작된 다수의 민화 형식의 팔폭병풍(八幅屛風)은 관동팔경의 문화현상이 보편적 수용기에 접어들었음을 알리는 증좌이다. 또한 조선후기 성행한 남승도놀이 등 명승유람놀이에 등장하는 강원도내 13개의 명승에는 관동팔경이 오롯이 나타나고 있음을 볼 때 조선 말기 관동팔경은 놀이문화 속에서도 확고하게 정착된 것으로 보인다. 이와 같은 결과를 종합할 때, 관동팔경의 인식은 15세기 전반 이전부터 있어 온 것으로 보이고, 16세기 형상화 과정의 지속적 전개를 통해 17세기 정착되었으며 18세기에 들어 관습화 보편화 된 것으로 추정된다. 궁극적으로 관동팔경은 고려시대부터 별개의 경물로 명성을 얻은 지역 명승이 17세기 후반 구체적으로 형상화되었음을 알 수 있다. 관동 명승 중에 관동팔경은 오랜 기간 여러 사람의 탐승과 유람문화 향유(享有)를 통해 오직 여덟 개의 최상의 명소만을 추리기 위한 절차탁마(切磋琢磨)의 과정을 거쳐 형성되고 배태된 국내 대표적 팔경임을 일깨워준다. The research takes note of the formation process and settling period of Gwandong-Palkyung(關東八景, Eight Sites of Eastern Korea), the representative palgyeong(prominent eight sites) and jipgyeong(集景, landscape collection of scenic beauty), and investigates the time of formation regarding the palkyung and jipgeyong of Gwandong's scenic beauty through the analysis and interpretation of bibliographic data, and reference data. The result of the study is as follows. As the first document that records the terminology of "Gwandong-Palkyung" is "Daphongeunggil(答洪應吉)" of Yi, Hwang(李滉), Gwandong-Palkyung is inferred to be settled within the recognition of the people even before the 16th century. The geographic analysis result including "Sinjeung Donggukyeojiseungram(新增東國輿地勝覽)", Gwandong-Palkyung expanded as Gwandong-Sipkyung in early to middle of the 16th century. The first confirmed landscape collection regarding Gwandong-Palkyung in this study is confirmed in Shin Zup(申楫)'s "Yeonggwandong-Palkyung(詠關東八景)", thus, the terminology of Gwandong-Palkyung existed before 16th century at the latest. The settlement time of current "Palkyung" collection is estimated to be early 17th century at the latest. Poetries regarding Gwandong-Palkyung, and the frequency on the appearance of Gwandong scenic beauties are analyzed as making clear of the concentrated phenomenon on the sceneries of Gwandong-Palkyung. On the other hand, the collection of Gwandong-Palkyung in the domain of arts is confirmed initially in the <TEX>${\ll}$</TEX>Gwandongpalkyungdobyeong(關東八景圖屛)<TEX>${\gg}$</TEX> of Heo, Pil(許泌). Gwandong-Palkyung, expressed as the actual scene landscape painting shows similar tendencies of the conditions in the jipgyeong from the poetry, but the appearance rate of the painting subject was more prominent in visual solidarity and cohesion due to the reflection of the importance on icon(圖像) of the art works produced with particular meaning in the case of fixed ideal system. From late Joseon to modern times, <TEX>${\ll}$</TEX>palpokbyeongpung(八幅屛風)<TEX>${\gg}$</TEX> of various forms of folk painting is a corroborative evidence notifying that the cultural phenomenon of Gwandong-Palkyung has entered the universal period of embrace. Also, the 13 scenic beauties of Gangwon-Do appearing in the games of Namseungdo and Myeongseungyuramdo include Gwandong-Palkyung, which confirms the settlement of Gwandog-Palkyung even within the culture of games in late Joseon. Such results demonstrate the existence of awareness regarding Gwandong-Palkyung from the first half of the 15th century, which is presumed to have completely settled in the 17th century through the continuous development of formative process in the 16th century. Ultimately, Gwandong-Palkyung is the concrete formation of regional scenic beauties that individually gained its reputations as scenery from the Koryo Dynasty to late 17th century. Gwandong-Palkyung of the scenic beauty of Gwandong is a unique cultural scenery of the region that have germinated and formed through the process of cutting and polishing of long time to collect the best eight of scenic beauty from the many participation of sightseeing culture.

Design Development for Fashion Cultural Product Using Traditional Patterns by Tessellation

Since the development of patterns using tessellation is applied to a wide range of fields such as clothing, architecture, environment, and products, etc. and its expression principle is also found in various fields such as mathematics and science, etc. However, this pattern is mostly used as a math material with little studies on fashion and culture. In addition, it is thought that Korean traditional culture products need more various and modern design development methods and pattern through preliminary investigation which is simple copy of traditional items, simple copy of Korean Alphabet, Chinese character, and folk paintings. Therefore, it will present the method to make more design cases using Tessellation. Tessellation that combines mathematics and art will be the infinite form of designing of designers as well as creative training way to understand the composition principles of old culture and to raise sense of modern design. Tessellation of regular triangle, regular square, and regular hexagon was performed on the patterns which have meaning of wealth and prosperity of Korean traditional patterns. As the concrete method, first, each side of the regular triangle is developed symmetrically with patterns of fish, turtle, and cicadas. Second, rotational movement after symmetry movement about middle point of one side × 1 symmetry movement about middle point × 1 using crane and cloud, of the regular triangle was performed. Third, the regular square was tessellated parallel movement × 2 with Da(multi) and dragon pattern as the source image. Fourth, the sitting tiger was tessellated with symmetry movement about middle point × 2 and parallel movement × 1. Fifth, three bat patterns are tessellated by again rotational movement of two sides after rotational movement of one side and rotational movement of the other side. In addition, It developed traditional culture product design of the scarf, umbrella, aprons, neckties.