조선후기 능호관 이인상의 문인화세계 연구

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조선후기, 능호관 이인상, 남종문인화, 문자향, 서권기, 동아시아

A study on the Literati Painting of
Neung-ho-kwan Lee In-sang in Late Chosun Period.

Kim Song Ei
Advisor :Prof. Cho Song Sik
Department of Aesthetic and Art History
Graduate School of Chosun University

Neung-ho-kwan Lee In-sang earned a reputation as the literati painter who portrayed plainly but clearly in late Joseon Dynasty. He was from loyal family but his grand-grand father was concubines son. Thus, he lived in paradox of position for his whole life. According to his literary work, however, he associated with more than one-hundred people, and there were a lot more people who respected him due to his state of consciousness and his paintings even after he died.
He is well-known as a painter who mastered the style of literati painting, which was introduced in the middle of the Joseon Dynasty and then became popular around the end of the Joseon Dynasty. The painting of literati does not put emphasis on just portraying a form, but on understanding by seeing through true nature, which we call spiritual art style. In other words, people can get sense of artist’s personality by appreciating artist’s art work based on internal aspects.
Nobody knows when the painting of literati started, but we can guess that according to the 南北宗論 which is started by Dong Gi-chang, it was originated in 渲染法 by Wang Yu from Tang Dynasty. The painting of Literati portrays the spirit or intelligence of the painter formatively, and it is introduced by the books which were brought by some people who adventured in the middle of Joseon Dynasty. To name a few books, for example, there were『芥子園畵傳』or 『唐詩畵譜』.
Lee In-sang did not leave any theory about his style of painting, but we could speculate from his art works. From the letter which Lee sent to Kim Sang-suk, we could guess that he emphasized the clearness and liveliness of spirit(筋骨氣韻). From the quotation of the Kim Jung-hee who mastered calligraphic works in the late Joseon Dynasty, he could understand what the ‘文字香’ and ‘書卷氣’ truly were, so he spoke very highly of Lee’s world of art when he saw style of painting and writing.
Alternative Title
A study on the Literary Painting of Neung-ho-kwan Lee In-sang in Late Chosun Period.
Alternative Author(s)
Song-ei Kim
일반대학원 미학·미술사학과
Awarded Date
Table Of Contents

제 1장. 서론
제1절. 선행 연구 검토 ··················································1
제2절. 연구의 목적 및 배경 ············································3

제 2장. 능호관 이인상 예술세계의 형성 배경
제1절. 출생과 성장 배경 ················································5
제2절. 관직생활과 교유 관계 ··········································8
제3절. 은거시절과 말년 ················································17

제 3장 남종문인화의 의미와 조선으로의 유입
제1절. 남종문인화의 개념과 역사·····································21
제2절. 남종문인화의 흐름-조선으로의 유입·························26

제 4장 능호관 이인상 남종문인화의 형성과 특징
제1절. 학습기····························································34
1.중국화보의 영향- 남종문인화풍의 학습
2.겸재정선의 영향- 진경산수화풍의 학습

제2절. 집대성기··························································44

제 5장 능호관 이인상의 남종문인화 이론
제1절. 졸박함····························································69
제2절. 담박함···························································72
제3절. 근골기운·························································74
제4절. 문자향과 서권기················································75

제 6장 결론
제1절. 능호관 이인상과 후대의 문인화가···························81
제2절. 동아시아의 문인화가 능호관 이인상························85


1.능호관 이인상연보
2.『芥子園畵傳』에 나타난「松枝法」
조선대학교 대학원
김송이. (2016). 조선후기 능호관 이인상의 문인화세계 연구.
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