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Journal articles on the topic 'Korean Genre painting'
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Vostrikova, Ekaterina. "The hwajohwa Genre (Bird-and-flower Painting) in Korean Traditional Painting of the Early and Middle Chosŏn Periods (Late 14th – Late 17th Centuries)." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (June 10, 2021): 61–78. http://dx.doi.org/10.36340/2071-6818-2021-17-2-61-78.
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The article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the early and middle Chosŏn periods (late 14th – late 17th centuries). The study identifies the historical and cultural context, the stylistic evolution of the bird-and-flower painting and the main terms for its designation. It presents individual artistic trends, examines the techniques used in Korean traditional painting. Moreover, the author outlines the leading artists who worked in this genre during the indicated period. In the early Chosŏn period (1392 – c. 1550), the hwajohwa genre gained particular relevance in traditional Korean painting, and a high artistic level was achieved in it. Vivid painting in the bird-and-flower genre, made in the academic style of court painting, became the most common and indicative of this historical period. In the process of the formation and strengthening of the positions of the new Yi dynasty, the ruling circles commissioned social paintings. Therefore, the works are characterised by an optimistic mood; the compositions are full of idyll and harmony with the world around them. Artist Yi Am, who laid the foundations for the development of the hwajohwa genre in Korea, was the most prominent representative of this movement. At the same time, scholar painters began to create small landscapes with birds, made only with water and ink. Confucian scholar Kim Jŏng is rightfully considered the founder of this scenic movement. The Middle Joseon period (c. 1550–1700) was characterised by the flourishing of the hwajohwa genre in the technique of monochrome ink painting. Many intellectual artists from the upper strata of Korean society emerged, for whom the bird-and-flower genre became a means of expressing deep personal relationships with nature and the world around them. Korea of the second half of the 16th–17th centuries suffered from numerous foreign invasions; thus, lonely and weary birds, sleeping or resting on the branches of trees, became the main and most popular motif in the hwajohwa genre. Such painting was a direct reflection of the feelings of the educated stratum of Korean society about the fate of their homeland. Paintings by scholar painter Cho Sok and court painter Yi Jin were the most popular works of the bird-and-flower genre of this period.
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Vostrikova, Ekaterina. "THE НWAJOHWA GENRE (BIRD-AND-FLOWER PAINTING)IN KOREAN TRADITIONAL PAINTING OF THE LATE CHOSŎN PERIOD (18th - EARLY 20th CENTURIES)." Scientific and analytical journal Burganov House. The space of culture 17, no. 3 (September 10, 2021): 31–49. http://dx.doi.org/10.36340/2071-6818-2021-17-3-31-49.
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This article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the late Chosŏn period (18th - early 20th centuries). The study identifies the historical and cultural context and traces the stylistic evolution of the bird-andflower genre. The national features inherent in Korean hwajohwa painting, as well as the influence of traditional Chinese styles and Western European painting techniques on the bird-and-flower genre, are noted. The author outlines the leading artists working in this genre. In the 18th century, the bird-and-flower painting in Korea underwent a significant transformation. The work of professional artists Chŏng Sŏn and Pyŏn Sangbyŏk presents a new realistic approach to hwajohwa painting. Artists began to carefully observe the structural characteristics of the depicted objects of wildlife. Also, artist Sim Sajŏng was a recognised master of the bird-and-flower genre. His work was based on the Chinese “southern school” pictorial principles and aesthetics, the influence of which was strong in Korea. Kim Hondo, the leading artist of the late Chosŏn period, actively used traditional landscape as a background for his works with flowers and birds. However, in depicting living creatures, he did not use formal templates, painting birds in realistic nature scenes. Kim Hondo contributed significantly to the development of Korean traditional painting and the hwajohwa genre. The popularity of the bird-and-flower genre in the late Chosŏn period is mainly due to economic growth and the improvement in the welfare of ordinary people. Most of the works of this genre were created by artists from the people. The works were examples of the so-called minhwa folk painting, which developed in accordance with the requests of a new customer, a native of the lower and middle classes. Such works combined auspicious symbols and were the embodiment of the highest harmony of nature. However, they also began to be used simply to decorate the house. In the hwajohwa painting of the 19th century, a new approach to the depiction of an artist’s personal experiences was reflected; such trends were mixed with the traditional “painting of ideas”. The birdand-flower genre acquired a free style and conveyed fresh aesthetic feelings under the influence of the work of artist Chang Sŭngŏp, whose pictorial approaches were continued and developed by masters at the very end of the Chosŏn era.
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An, Hyeon-Kyeong. "A Study on Hair Style and Headdress in the Joseon Dynasty Genre Paintings: Focusing on the Genre Paintings of Danwon Kim Hong-do, Geungjae Kim Deug-shin, and Hyewon Shin Yoon-bok." Journal of the Korean Society of Cosmetology 29, no. 3 (June 30, 2023): 665–84. http://dx.doi.org/10.52660/jksc.2023.29.3.665.
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This study sought to provide basic data for developing the new korean hairstyle images by studying the hairstyles and headdress of Joseon dynasty in the late 18th and 19th centuries, focusing on the genre paintings of the three major Joseon genre painters, Danwon Kim Hong-do, Geungjae Kim Deug-shin, and Hyewon Shin Yoon-bok. The subjects of the study consisted of 25 pieces of the paintings of Kim Hong-do's "Danwon Genre Painting Book", 8 pieces of the paintings of Kim Deug-shin’s "Geungjae Genre Painting Book", and 30 pieces of the paintings of Shin Yoon-bok's "Hyewon Genre Painting Book". The following results were obtained: First, in terms of the sex ratio, the proportion of males was much higher than that of women’s, the age ratio, the proportion of middle-aged was much higher than elderly ones. By painter, Danwon interested in young children and boys, Geungjae in man adults, and Hyewon in female adult prostitute namely keesaeng. Second, looking at the hair style and headdress of men, there were far more types of headdress of men than women. The most common hair styles & headdress of men were Got, Sangtoo. Chidren before marred done Baird, bushy hair, and tied hair. In addition, Gun, Faereng-ee, Gumkijeon-lip, Bang-gun, Go-kal, Song-nak, Yu-gun, Bock-gun, Sat-got, Samo, Jeon-lip, Tang-gun, Cho-lip, Kalte-gee were appeared. Third, looking at the womens, the most common hair styles & headdress of women were Tre-meory and Eunjeun-meory. Children before married done Keemeet-meory. And Gun, Jeon-mo, Jang-ot, Tsuge chima, Garima, Ju-lip, Jeon-lip, Sat-got, Naul were appeared.
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Park, Kiyeon. "The Development of Changzhou School and Yun Shouping’s (1633-1690) Flower Paintings." Korean Journal of Art History 316 (December 31, 2022): 135–66. http://dx.doi.org/10.31065/kjah.316.202212.005.
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Yun Shouping 惲壽平 (1633-1690) was one of the Early Qing orthodox masters. He embarked on his artistic career by painting landscapes in the Southern School style, but later gained his reputation for flower paintings in the “boneless” (mogu 沒骨) coloring method, a technique that does not leave traces of outlines on the pictorial surface. Living in the late Ming and early Qing period, Yun trod on an eventful trajectory of life. He was born to a family of literati and exhibited an aptitude for scholarly exercises during his childhood. As a Ming royalist, he was arrested for his activities against the Manchu rule. During his engagement in the resistance, he was accidentally reunited with his father, Yun Richu 惲日初, with whom he returned home together. Changzhou, Yun’s hometown, was a region that was particularly known for paintings of flowers and insects. Active since the Song period (960-1279), the Changzhou school developed a style of painting that achieved a lifelike verisimilitude of ordinary flowers and insects. Against this regional backdrop of the vivid and lifelike painting tradition, Yun applied the boneless coloring method to the genre of flower painting. This boneless coloring method allowed Yun’s flower painting to depart significantly from prior generations of Changzhou flower painters whose work relied on meticulous fine brushwork (gongbi 工筆). Yun began his study of flower painting from 1670s, acquired various techniques and styles of painters active from the Song through the Ming periods, and took the genre of flower painting to a level of literati painting. Prior to Yun, flowers were regarded as a pictorial subject reserved exclusively for academy painters. Yun overturned that perception, charting a new territory of artistic exploration for scholar-painters. His style exerted a far-reaching influence over diverse hosts of painters encompassing not only the Yun clan painters, but also court painters, the Eight Eccentrics of Yangzhou, and even modernists. He also left indelible impacts on the history of Korean flower painting since his work came to be circulated in Chosŏn.
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Lee, Ho-Jung, and Woo-Hyun Cho. "A Study of Modern Korean Costumes on Kisan Genre Painting." Korean Society of Costume 62, no. 4 (June 30, 2012): 15–31. http://dx.doi.org/10.7233/jksc.2012.62.4.015.
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Wang, Xiao Yu, and Dong Kwan Yoo. "The occurrence type of visual humor in Korean and Chinese genre painting." Journal of Basic Design & Art 23, no. 5 (October 31, 2022): 295–308. http://dx.doi.org/10.47294/ksbda.23.5.21.
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Kang, Ok Hee. "Modernity and international universality of Korean genre painting in the modern century." KOREA SOCIETY FOR SCIENCE OF EASTERN ART 52 (August 30, 2021): 37–70. http://dx.doi.org/10.19078/ea.2021.52.2.
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Kang, Junsoo. "A Study on the Necessity of Contents for Joint Exhibition of Korean-Japanese Genre Paintings Using Ukiyoe's Awareness." Academic Association of Global Cultural Contents 54 (February 28, 2023): 1–19. http://dx.doi.org/10.32611/jgcc.2023.2.54.1.
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The purpose of this study is to discuss the functions and meanings that Ukiyoe could present to various publics. Ukiyoe is a painting that focuses on depicting reality rather than depicting the ideal world, past, and future. Based on woodblock prints, Ukiyoe pursues mass production, securing price competitiveness through low prices, depicting original desires, popularity, playfulness, and carpe diem tendencies. Just as Japanese Ukiyoe has the function of securing the positivity of painful reality, Korean genre paintings of the Joseon Dynasty also have the function of restoring the positivity of reality. While the former gained worldwide popularity and fashion and exerted an influence on Western Impressionist painters, the latter has less recognition. In the era of globalization, where cultural products with regional distinctive characteristics are competitive, Korean folklore and Japanese Ukiyoe have unique values. Therefore, it is necessary to promote active cultural exchange, increase awareness, meet the demands of tourism consumers, and revitalize the local economy by holding expositions and joint exhibition event contents in the pavilion to promote the customs of both countries by using the awareness of Ukiyoe.
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Im, Mi-hyun. "Reconstruction of Keung-Jae Kim Deuk-shin’s Life." Institute of History and Culture Hankuk University of Foreign Studies 82 (May 31, 2022): 125–58. http://dx.doi.org/10.18347/hufshis.2022.82.125.
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Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754~1822) was a painter from the Yeong, Jeong, and Sun Dynasties. Born to the Kaesong Kim clan, a noble painter family of the late Joseon Dynasty, he entered the Dohwaseo in his teens and, for more than 44 years, played critical roles of a major painter, living the typical life of a painter during the late Joseon Dynasty. In addition to his well-known genre painting, he was one of the best painters of his time, presenting outstanding skills in almost all genres, including landscapes, figures, furry animals and flowers and birds. Nevertheless, many viewed him with limited perspectives, such as “a painter whose major inspiration was Kim Hong-do” and “a painter only known for genre painting.” Focusing on these aspects, this paper intends to reconstruct Kim Deuk-shin’s life and his influence on Korean painting history.
Born to the Gaesong Kim clan and Shinpyung Han clan, both noble painter families of the late Joseon Dynasty, Kim Deuk-shin received rigorous education from an early age and became an official Dohwaseo painter in his teenage years. After the establishment of Jabidaeryungw hawon (the best painters of their time, temporarily recruited for royal court assignments in the late Joseon period) by Gyujanggak, he was recruited as one of the first Jabidaeryungwhawon and devoted himself to Gyujanggak activities for the next 37 years. He was known to be diligent in all his tasks, small or large, in addition to major painting duties including Gamdong (監董, a temporary official post to supervise and manage special projects such as civil engineering works or publication of books), royal portrait painter for Jeong Dynasty, and production of Hwaseongwonhaengdobyeong. With his talent and attitude, he was a trusted painter, being appointed several times as an official (burok, 付祿) during both Jung and Sun Dynasties.
In addition to his official duties, Kim Deuk-shin was also active in his private works. He grew himself as a painter by interacting with important artists of the Joseon Dynasty, such as Kim Eung-hwan who came from a similar background, as well as Kim Hong-do and Lee In-moon. He received private orders through these personal relations, resulting in general paintings of various genres, as evidenced by his works such as Gosangugok-sihwabyeong and Hanjgangjooyouaheokdo cheob.
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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.
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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.
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Burganova, Maria. "Letter from the editor." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (June 10, 2021): 6–10. http://dx.doi.org/10.36340/2071-6818-2021-17-2-9.
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Dear readers,We are pleased to present to you Issue 2, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The article by the outstanding American historian of architecture, Robert Ousterhout, is devoted to the Russian architecture formation and questions of church construction development. E. Menshikova analyses the issues of ancient aesthetics and philosophy through the prism of the realities of the modern world in the article “The Paradox of a Liar – an Incredible Repetition. Part II. The Aristotle-Anokhin Diphthong”. Characteristic of the religious consciousness and philosophy of Confucianism, the ideas of the immortality of the spirit, filial piety, and etiquette, which have become firmly established in the burial culture of Ancient China, are explored by Xiang Wu in his article “Cultural Preconditions for the Formation of Stone Carved Sculpture in Ancient Chinese Mausoleums”. Qiu Mubing continues the theme of the Chinese funerary tradition of the Han period in the article “Items of Burial Cult in the Han Period. Bronze Items. Bronze Aesthetics in the Han Period”. The author analyses bronze items and concludes that the Bronze Age in China began with the emergence of Chinese civilisation and lasted, developing in stages, until the end of the period in question – the Han period. E. Vostrikova analyses the stylistic evolution of the Flowers and Birds genre in her article “The Hwajohwa Genre (“Flowers and Birds”) in Korean Traditional Painting of the Early and Middle Joseon Periods (Late 14th – Late 17th Centuries)”. The study identifies the historical and cultural context and the main terms for its designation, presents individual artistic trends, examines the techniques used in Korean traditional painting. Moreover, the author outlines the leading artists who worked in this genre during the indicated period. P. Kozorezenko investigates the artistic searches of the masters of the Severe style in the article “The Image of an Icon in the Art of the Artists of the Severe Style”. The author believes that ancient Russian art and its main embodiment, an icon, are one of the vivid elements of the creative palette of the Severe style masters. N. Beschastnov and E. Dergileva present the graphic heritage of Moscow artist A. Dergileva, limited by the period between 1980–1990, in the article “The Moscow Metro of Alena Dergileva: the Image of Stability and Features of Change”. The seemingly simple theme, “man and a city”, is developed in a multitude of complex relationships between plastic and compositional research. In the article “History and the Picturesque Image in Sergei Eisenstein’s Film Alexander Nevsky”, N. Lushchenkov examines the theme of picturesque images in films. The author analyses the dialogue of different types of art on the example of the film Alexander Nevsky, believing that these not so obvious, but deep in their idea and artistic structure, allusions to works of painting, book illustration and graphics manifest themselves most vividly and consistently in the context of the film. The fundamentals of the sacred space reconstruction on the example of the play Shakuntala are considered by P. Stepanova in the article “Reactualization of the Ritual Structure in the Performance of Jerzy Grotowsky’s Shakuntala by Kalidasa (1960)”. The author explores the main methods of working on new connections between the actor and the audience in a theatrical performance as a special form of complicity. The author considers the deconstruction of the stage space and the removal of a clear division into the stage and the audience to be one of the main means of expression at this stage of work. In the article “Design Culture of Team Strategies”, Y. Vaserchuk analyses modern forms of design activity that contribute to professional design development and compares the principles of designers’ teamwork that are similar in form but differ in content. The author identifies the types of project design thinking: from engineering and creative types to artistic and resource-based ones. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Lee, Yeonju. "The Increase in the Commissioning of Paintings during the Late Joseon Period and Its Impact." Korean Journal of Art History 315 (September 30, 2022): 177–212. http://dx.doi.org/10.31065/kjah.315.202209.006.
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The late Joseon period witnessed significant growth in the commissioning of paintings. This increased demand for paintings, which led to changes in the production and consumption of paintings, is evidenced by the increased number of painting inscriptions that specified the names of clients. Those painting inscriptions indicate that the client placed an order to the painter in person, via a broker, or through correspondence. They also reveal which pictorial subjects were particularly favored by clients. For instance, demand for paintings of true-view landscape of the client’s family hometown or of famous scenic places was particularly high among scholarofficials, and yet demand for conceptual landscape paintings still remained high. The portrait was emblematic of the genre of paintings that were to be commissioned first. Aspirations to take pleasure in Chinese literati culture were expressed in the consumption of narrative figure paintings. The subject of immortals, which symbolized the wish for longevity, and the subjects of flowers, plants, birds, and animals, which served as auspicious decoration, also gained currency as the basis of demand for painting broadened. The terms of commissioning paintings as formed in the late Joseon continuously shaped the painterly practice even after the fall of the Joseon, heralding the way paintings were distributed and consumed in modern Korea.
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Niu, Xuebiao. "WU CHENG’EN’S NOVEL “JOURNEY TO THE WEST” AND ITS RESOURCES FOR ANIMATED ADAPTATIONS." Scientific and analytical journal Burganov House. The space of culture 19, no. 3 (June 10, 2023): 22–38. http://dx.doi.org/10.36340/2071-6818-2023-19-3-22-38.
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This article explores the potential for producing animated movies based on the Chinese classic novel «Journey to the West». The author traces the evolution of the plot and characterizes the main features of the famous literary work, the adaptation of which was repeatedly used not only by Chinese, but also by Japanese, Korean and other animators. Over the years and centuries, the pilgrimage of the Tang monk and his companions to India in search of the sacred sutras has evolved from historical accounts to folklore tales, and eventually to plays, after which the journey has become the subject of several novels by different authors, with Wu Chen’en’s novel being the most renowned classic. And it is the very process of turning a real story and real people into a legend, a myth, geographical movement and physical travel into a metaphysical path, followed by characters whose image goes back to ancient archetypes that made the novel so popular during different centuries and in different countries. Furthermore, the article highlights the distinctive features of the novel that make it particularly suitable for adaptation through animation. Unlike written art, visual art can directly incorporate the images and forms of various folk art forms such as folk painting, sculpture, popular print, shadow theatre, Peking Opera, and traditional painting. Chinese animation based on the novel has successfully utilized these art forms. Additionally, one should consider the genre of the novel, which is rooted in the collective unconsciousness and rich in formal, plot, and thematic elements. As noted by Russian philologist and semiotician J. Lotman, animated cinema is the most appropriate means for adapting fantastic stories. At the same time, Wu Chen’en’s novel «Journey to the West» has the value of not only a national cultural heritage, but also a global one. The author notes the important idea of the Canadian media theorist Marshall McLuhan about the relevance in the information society of the Chinese way of thinking with its idea of a net world and a net person. Animated films based on the plots of «Journey to the West», can effectively broadcast the values of the Chinese worldview and mentality and thereby contribute to the mankind’s response to the challenges of the time.
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汪一舟, 汪一舟. "美人移動，江南到江戶：狩野探幽對中國仕女圖的傳移模寫." 中正漢學研究 37, no. 37 (June 2021): 075–114. http://dx.doi.org/10.53106/2306036020210600370003.
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<p>明代中國繪畫傳至日本，成為江戶時代重要的創作素材。江戶早期狩野派畫家狩野探幽經多年蒐集和摹寫，繪製了大量以中國古畫為主的縮小摹本，稱作「探幽縮圖」。用於繪畫素材、鑑定筆記及門派傳承等，影響深遠。中國女性是其中重要題材。基於皆川三知關於「縮圖」中多於107幅「唐美人」圖的統計，本文從中日跨文化角度探討「縮圖」中國仕女圖的摹寫方法、來源和運用，並試論日本江戶時代對中國女性題材繪畫及其作偽的受容。發現「縮圖」多擅仕女畫的明代蘇州「吳門」畫家唐寅、仇英款，也有不長於仕女題材的江南名家如元代趙孟頫、趙雍，指出「蘇州片」為其重要來源。再以耕織圖、西王母圖為案例，探討了跨文化背景下中國女性圖像雜糅及重新詮釋問題。</p> <p> </p><p>"During the Ming dynasty, Chinese paintings were transmitted to Japan and became an essential visual source for Japanese paintings of the Edo period (1615-1867). Kanō Tan’yū (1602-1674), a leading artist of the early Edo Kanō School, spent his lifetime copying numerous earlier Chinese paintings, as well as some Japanese and Korean works. He left thousands of small-sized sketches, called Tan’yū Shukuzu [Tan’yū’s Small Sketches], leaving a lasting impact on the Japanese painting realm. They were made for multiple purposes, as painting models, authentication notes, teaching materials, and a symbol of a painter’s status. Sanko Minagawa’s research survey indicates the existence of more than 107 sketches of Chinese female images, as one of the major subjects, in Tan’yū Shukuzu. </p> <p> This paper focuses on Tan’yū’s copies of Chinese female-figure paintings (often called tobijinzu, “pictures of Chinese beauties,” in Japanese) that were largely overlapped with while beyond the scope of the shinü tu or meiren hua genre (paintings of beautiful ladies) in Chinese art. It discusses the reproduction mechanism of Shukuzu in comparison with the Chinese fenben practice. It also examines the attributed Chinese artists’ signatures copied by Tan’yū in Shukuzu, e.g., Qiu Ying and Tang Yin (famed for beautiful women paintings), Zhao Mengfu and Zhao Yong (no extant authentic female-figure paintings), and it identifies the late Ming Suzhou Pian workshop as an important original Chinese source. It provides a fresh angle to approach the perception of Chinese “forgery” paintings and the long-term use of Shukuzu in re-making and reinterpreting Chinese paintings in Edo Japan from the seventeenth to the nineteenth century. Through two case studies from a transcultural perspective, it shows the combination of two Chinese pictorial systems, gengzhi tu (Pictures of Tilling and Weaving) and shinü tu, in a Kanō School scroll; and the transformation of the Queen Mother of the West, from a powerful female Daoist immortal signified by peaches of immortality to a secularized beautiful lady holding peach blossoms, in Kanō School paintings. </p> <p> </p>
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Yun, Kusuk. "Study on Changes and Characteristics of the SeMA’s Non-Korean Artists’ Acquisition from 1991 to 2020." Korean Arts Association of Arts Management 66 (May 31, 2023): 65–104. http://dx.doi.org/10.52564/jamp.2023.66.65.
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The purpose of this paper is to study the changes in and characteristics of SeMA’s acquisitions of non-Korean artists from 1991 to 2020 through a periodical perspective. In the 1990s, SeMA's collections of non-Korean artists developed around crafts and ceramic art, and artists from Western and select Asian countries were emphasized. In the 2000s, printworks related to the Seoul Olympics made by important global artists comprised the highest proportion of the museum's non-Korean acquisitions, and a wider variety of genres were collected, emphasizing painting and photography. Also, similar to the 1990s, in this period Western and Asian artists dominated the museum’s collection, though non-Western artists increasingly helped to diversify it. In the 2010s, SeMA showed even greater diversification in the artistic genres it collected, including painting, photography, installation, and new media, and emerging global artists were collected. As for the artists’ nationalities, there was a tendency in this period to collect works by multinational artists, including those from the Middle East. In addition, increasing emphasis was placed on ‘Korea’ and Korea-born foreign artists, a trend that had continued from the 2000s. Developing a discourse of globalization centered on local government art museums, this study examines the characteristics of non-Korean artists acquired by SeMA’s from the perspective of time.
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IM, MI-HYUN. "A Study on Landscape Paintings of Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822)." Institute of History and Culture Hankuk University of Foreign Studies 88 (November 30, 2023): 191–224. http://dx.doi.org/10.18347/hufshis.2023.88.191.
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Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822) is known as one of the three genre painters along with Kim Hong-do (金弘道, 1745-1806?) and Shin Yun-bok (申潤福, 1758-1817 afterwards) or only as a painter who had been largely influenced by Kim Hong-do. In fact, he was a 44-year veteran Dohwaseo painter who had participated in important national art projects. Aside from his famous genre paintings, his extraordinary talent in portraits, landscapes, birds and animals, and flowers and animals established him as one of the best painters during the period. Especially, his results in Nokchwijae (祿取才: the state examination for court painters) demonstrates his ability in landscape painting among other themes as well as how much recognition he received at the time; some of these works are currently available.
Kim Deuk-shin’s landscape paintings carry two styles of landscape painting in Late Joseon Dynasty: literati landscape painting of the ideal and conceptual landscape and true-view landscape painting that painted mountains and rivers in Korea. This allows better understanding of his diverse works, as well as the variety of trends and transformations of the landscape painting in the Late Joseon Dynasty. In addition, compared to other themes such as genre, figure painting of Taoism and Buddhism, birds and animals, and flowers and animals that had been apparently influenced by Kim Hong-do’s style, his landscape painting has a different pattern due to being directly and indirectly influenced by a number of preceding painters including Jeong Seon (鄭敾, 1676-1759), Sim Sajeong (沈師正, 1707-1769), Kim Eung-hwan (金應煥, 1742?-1789), and Kim Hong-dothat were largely established in the area of landscape painting At the same time, it is also possible to observe the Gaeseong Kim family’s painting style from Kim Deuk-shin’s landscape paintings as they show association with those of his uncle Kim Eung-hwan, brother Kim Seok-shin (金碩臣, 1958-?) and Kim Ha-jong (金夏鍾, 1793-1875 afterwards). Kim Deuk-shin’s landscape painting style may have been passed on to Kim Seok-shinand Kim Ha-jong through secondary influence from Kim Eung-hwan, who was influenced by Jeong Seon and Sim Sajeong. Based on this, his landscape painting style appears to have had a significant influence on the establishment of the painting style within the Gaeseong Kim family and on later generations of court painters.
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Kim, A.-Hyun. "Ecological Transformation Value and Application Direction in the Ideas of Gugak Education." Korean Journal of Teacher Education 38, no. 6 (November 30, 2022): 369–92. http://dx.doi.org/10.14333/kjte.2022.38.6.17.
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Purpose: The purpose of this study was to understand the ecological transformation value contained in the ideas of Gugak education and to seek the direction of Gugak education in order to foster ecological sensitivity. Methods: First, a-literature review was conducted focusing on previous studies in the field of music and music education related to ecological transformation education. Second, the relationship between ecological transformation education and Gugak was revealed, and implications for Gugak education were identified. Third, the direction of Gugak education to cultivate ecological sensitivity was sought. Results: Three findings were sought as the direction of Gugak education to foster ecological sensitivity. First, in understanding ecological space, genre painting was utilized to learn how to use human life and ecological space in harmony with nature. Second, in experiencing the life of the ecological community, students learned how to coexist with nature by experiencing repeated customs every year, such as seasonal customs, other customs, rituals, plays, food, and songs. Third, in the expression of the sound of nature, the activities of singing and playing musical instruments, which can be called bowls containing nature as it is, were utilized for students to fully feel nature and accept ecological life. Conclusion: Gugak education plays a role in naturally recognizing the ecological transformation value contained in Gugak. Listening to Gugak based on these ideas, cultivated a willingness to participate in ecological transformation, and laid the foundation for further practice. In order for this to be properly implemented, it is necessary to devise and apply teaching and learning plans in consideration of the connection between research on content and related music at the school level. Therefore, in the 2022 revised music curriculum, it is hoped that Korean traditional music education will be provided to develop ecological sensitivity that is actually helpful at elementary and secondary schools.
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Koo, Lina Shinhwa. "Export Paintings as Art and Agency." Athanor 39 (November 22, 2022): 95–110. http://dx.doi.org/10.33009/fsu_athanor131145.
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Export paintings that depict local images of one’s country with the purpose of being sold to foreign customers emerged in China and Korea in the late eighteenth and late nineteenth centuries, respectively, when the countries opened their ports to Europe and America. Given this historical context, the conventional understanding of export paintings of the two countries has been twofold at large: 1) commodities that reflect Euro-American customers’ tastes for exotic imageries and 2) ethnographic resources that exhibit unique characteristics of each country’s culture. While these interpretations have a valid ground, they often undermine the artistic qualities of the painting genre, separating it from the existing painting traditions. To broaden this perspective, my paper aims to suggest plural ways of discerning export paintings through cross-cultural comparisons. In doing so, this study highlights the integral roles of export painters in responding to changing social, political, and economic circumstances, posing a critical question for investigation: whether export paintings are images of self-objectification with the instillation of Orientalist ideologies or creative outcomes with an artistic agency. While these two stances are not mutually exclusive nor contradictory to each other, this core question allows one to challenge the linear understanding of the history of “non-western” art.
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Seol, Kyeong-hee. "Aesthetic Consideration of Hyangpa Lee Juhong’s Calligraphy and Painting." Korean Society of Calligraphy 43 (September 28, 2023): 159–96. http://dx.doi.org/10.19077/tsoc.2023.43.7.
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Lee Juhong(1906-1987) was a writer, educator, and artist, born in Hapcheon, Gyeongsangnam-do, and worked in Busan. This paper is a study of his calligraphy, poetry, and painting. He experienced various hardships during his life of 80 years, including Japanese rule and the Korean War. Therefore, he expressed human agony and the fundamental essence of his difficult life through various genres of art, including literature. He led students to culture and art during his entire life as a professor of the Department of Korean Language and Literature at the National Fisheries University of Busan, integrated by Pukyong National University in Busan afterward. In addition, he was a comprehensive artist who engaged in artistic activities in a variety of genres, including poetry, novels, essays, plays, and criticism, as well as children's poems, fairy tales, juvenile fiction, calligraphy and painting, folk paintings, comics, book designing and binding, and theater directing. He also wrote collections of literary works and translations that amount to about 300 volumes.
I analyzed and examined Hyangpa Lee Juhong’s calligraphy and painting by classifying them into literary communication aesthetics of calligraphy and painting and authentic East Asian aesthetics of calligraphy. The simple beauty, humorous beauty, and natural beauty abstracted from the literary communication aesthetics of calligraphy and painting help the aesthetic emotions organically linked in Hyangpa’s poetry, painting, and calligraphy to communicate through the integrated empathy of creation and appreciation. Therefore, I confirmed that simple, humorous, and nature-friendly works become communication aesthetics that heals complex minds.
I summarized the authentic East Asian aesthetics of calligraphy into five beauties.: The first is the simple and gentle beauty that looks smiling. The second is the beauty that to have and to lack generate each other, and the third is the beauty that expresses a neat yet majestic aura with flowing strokes. The next is the beauty that is plain but not sick of, and the last is the magnanimous beauty while remaining faithful to nature without restraint. He used diverse genres of literature and various fields of art. He attempted many experimental things in calligraphy, so we could evaluate that he created a new style and method of calligraphy. In addition, the humanistic, literary, and aesthetic sentiments accompanying Confucius's humanism and Zhuangzi's vital freedom at the bottom of Hyangpa art formed his view of literature, art, and life. Thus, they elaborately emerged in Hyangpa’s calligraphy and painting.
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Liu, Lihong. "Ethnography and Empire through an Envoy’s Eye: The Manchu Official Akedun’s (1685-1756) Diplomatic Journeys to Chosǒn Korea." Journal of Early Modern History 20, no. 1 (January 26, 2016): 111–39. http://dx.doi.org/10.1163/15700658-12342491.
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Akedun’s 1725 album Fengshi tu [Diplomatic Paintings] is an extraordinary example of the diplomatic painting genre popular during the High Qing era (1661-1796) that represents imperial delegations through the commissioners’ eye-witness experiences. Created after his four journeys to Chosǒn Korea, this album constructs a narrative in which Akedun carries out the role of an imperial ambassador while it captures ethnographic details of the lived places, curious customs, and courteous peoples of Korea. By rendering an imperial image of the Manchu Qing court, the album commemorates the amelioration of the Qing-Chosǒn relations after they had fraught confrontations during the Manchu’s post-conquest period. I argue that the Manchu ambassador Akedun keenly established his persona as an orthodox Confucian scholar in order to justify his position as a civil court-official whose missions were to negotiate for a mutual respect between the two regimes in the process of reaffirming an overarching Qing imperial order.
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An, Miyoung. "Korean Culture Education through Genre Paintings - flipped-learning-based instruction -." Journal of Language & Literature 70 (June 30, 2017): 481–510. http://dx.doi.org/10.15565/jll.2017.06.70.481.
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Wang, Xiao Yu, and Dong Kwan Yoo. "A comparison between Korean genre paintings in the later period and Chinese genre paintings in the Qing Dynasty (1644-1911)." Journal of Basic Design & Art 23, no. 1 (February 28, 2022): 273–91. http://dx.doi.org/10.47294/ksbda.23.1.20.
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Kang, Jun Soo. "A study on revitalization of cultural tourism exchange through exhibition of Korean-Japanese genre paintings." Journal & Article Management System 46 (May 31, 2022): 179–98. http://dx.doi.org/10.31927/asec.18.2.9.
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Hong, Sunpyo. "The Emergence of Western-Style Painters and the Genre of Landscape Painting in Early Modern Korea." Art History Forum 57 (December 31, 2023): 7–34. http://dx.doi.org/10.14380/ahf.2023.57.7.
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Kim, Se-ra. "A literary study of the 『Namcheonilrok』: Focusing on the independent stories in the diary." Korean Language and Literature 126 (March 30, 2024): 129–59. http://dx.doi.org/10.21793/koreall.2024.126.129.
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Shim No-sung's Namcheonilrok , the subject of this study, is a vast amount of diary literature written every day for five years from the day of his exile as Gijang. However, beyond the general categories that the diary genre can handle, multiple historical, geographical, philosophical, and literary materials are intertwined vertically and horizontally. This study analyzed the stories that independently existed in the diary (i.e., stories within stories) as literary works created by Shim No-sung, and revealed the characteristics and identity of the stories. The stories that Simnosung witnessed, heard, processed, and completed in Gijang were similar to classical literary genres such as folk tales, virtuous women's tales, fairy tales, and fairy tales. Since what he heard and recorded from the listener's perspective was processed and completed using literary techniques, it can be considered a work that reflects his author's intention. The birth of this kind of narrative literature was due to his exile life, where he found comfort in listening to stories, and his writerly temperament to process and complete them in a literary way. Sim No-sung produced portraits, or character stories, of people who had a direct or indirect influence on his life in exile. Some characters are mentioned several times, and when the references are collected and combined, a single character story is completed, which is the case in Heungsam's portrait painting. The portrait of Heungsam that the reader drew at the first meeting is reversed into a completely opposite portrait at the last meeting. The ability to consistently and persistently record a person in such detail comes from the writer's temperament to explore humanity. Parakho Kim Saeng's character story is a story that strangely combines the scene where the story is made and the nature of the fun of storytelling. Delicious food is prepared with care and enjoyed, while at the same time listening to Kim Saeng's story about his difficult life. The story was made even more vivid by the real-time nature of the gathering, where the people gathered at the event also joined in, asked questions, joked, and had fun. This shares its characteristics with well-processed folk tales.
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신선영. "Imitations of Genre Paintings by Kim Hong-do during the “Opening of Ports” Period in Korea." KOREAN JOURNAL OF ART HISTORY 283284, no. 283284 (December 2014): 115–42. http://dx.doi.org/10.31065/ahak.283284.283284.201412.005.
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조선희 and 박옥련. "A Comparative study on the Shape of Ginyeo Clothing in the Early Modern Genre painting, Korea to Japan." Japanese Modern Association of Korea ll, no. 39 (February 2013): 297–323. http://dx.doi.org/10.16979/jmak..39.201302.297.
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Lee, Hyo-Jeong, and Hea-Jin Chang. "A Study on Soban in the Genre Paintings by Kim Jun-geun: Focused on Collection by the Korean Christian Museum." Table and Food Coordinate Society of Korea 13, no. 3 (December 30, 2018): 1–18. http://dx.doi.org/10.26433/tfck.2018.13.3.01.
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RYBALKO, Svitlana, and Zhe ZHANG. "REPRESENTATIONS OF STILL LIFE IN CHINESE PAINTING OF THE FIRST HALF OF THE 20TH CENTURY: THE SHANGHAI SCHOOL." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (October 15, 2023): 66–77. http://dx.doi.org/10.33625/hudprom2023.02.066.
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The purpose of the article is to determine the ways of formation of still life as a genre in the first half of the 20th century and the features of its conceptualization; highlighting the creative output of representatives of the Shanghai school in the field of depicting the objective world. A wide range of visual materials is considered, and a circle of representatives of the Shanghai school who participated in the development of still life as an independent genre of painting is identified. Wu Changshu and Qi Baishi are among the most significant creators of still life. Representative samples and leading approaches to the development of the figurative structure of still life, its understanding as a complete symbolic and artistically expressive composition, as a gift and expression of an individual creative principle are identified. The connection of the Shanghai still life with the previous tradition is shown, and the decisive influence of wenrenhua aesthetics is highlighted; the significance of Shanghai as an artistic center and a cosmopolitan environment for the development of the artistic process is pointed out. It is emphasized that the still life of the Shanghai school became a transitional link to the still life of the Western style. The cultural status of still life as a result of the activity of scientists determined its perception by Japanese artists, the representatives of the Nanga school and ensured its further spread in the art of China, Japan and Korea. The main approaches to the interpretation of pictorial motifs close to still life are determined. Traditional and modern aspects in the depiction of the objective world by representatives of the Shanghai school in the first half of the 20th century are identified. The practical significance of the research results lies in the possibility of their use in the development of the conceptual framework for educational courses, textbooks, as well as in artistic and museum practices.
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Choi, Eunjoo. "A Study on the Late 19thCentury Basic Costumes and Games based on Genre Paintings by Kisan Junkeun Kim - Referred from the book 「Korean Games」 -." Journal of the Korean Society for Clothing Industry 14, no. 5 (October 31, 2012): 766–77. http://dx.doi.org/10.5805/ksci.2012.14.5.766.
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Гутарёва, Ю. И. "Landscape in the works of the Ussuriysk painter Alexander Tkachenko: continuity and originality of artistic traditions." Iskusstvo Evrazii [The Art of Eurasia], no. 1(28) (March 31, 2023): 162–73. http://dx.doi.org/10.46748/arteuras.2023.01.013.
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Статья посвящена пейзажному творчеству уссурийского живописца Александра Васильевича Ткаченко — одного из ярких представителей дальневосточного советского и российского изобразительного искусства. Главная цель автора — рассмотреть творческие достижения мастера в пейзажном жанре в контексте общего развития отечественной живописи второй половины XX века и нашего времени. Главный акцент исследования — своеобразие художественного языка мастера, позволившего ему создать пейзажные произведения, возвысившие дальневосточный пейзаж и представляющие одну из ярких страниц в развитии отечественного регионального изобразительного искусства и на международной арене сопредельных территорий. На основе искусствоведческого анализа отдельных произведений пейзажного плана, относящихся к разным периодам творческого наследия мастера, изучаются особенности формирования стилистических особенностей творчества художника и осмысляется влияние на его творческое мировоззрение художественной и природной среды Дальнего Востока. Рассматриваются основные темы пейзажных композиций художника, в том числе отечественных дальневосточных (посвященных изображению ландшафтов Дальнего Востока России), подмосковных и зарубежных дальневосточных (отображающих виды близлежащих заграничных территорий Китая и Республики Корея). Автором анализируются особенности творческого метода художника, отмечается преемственность линии академической реалистической живописи и новые качественные характеристики, привнесенные им в развитие пейзажа Дальневосточного региона России, выявляется их роль в формировании традиций уссурийской живописи, представляющей яркую ветвь развития приморского изобразительного искусства. Вводятся новые и обобщаются уже известные факты творческой биографии художника, где дается оценка творческой деятельности живописца в развитии художественной жизни Приморья и Уссурийска в частности. Обобщая достижения А.В. Ткаченко в пейзажном жанре, которые и сегодня во многом определяют художественную самобытность российского дальневосточного пейзажа, динамично вводя его в пространство зарубежного Дальнего Востока, автор определяет их роль и значение в развитии отечественного регионального искусства современности. This article is devoted to landscape art of the painter Alexander V. Tkachenko (born 1931), one of the brightest representatives of the Soviet and Russian Far East graphic art. The main purpose of the author is to consider the creative achievements of the master in the landscape genre in the context of the general development of domestic painting of the second half of the twentieth century and our time. The main accent of the research is peculiarity of the master's artistic language, which allowed him to create landscape works elevating the Far Eastern landscape and representing one of the bright pages in the development of the domestic regional fine art and in the international arena of the adjacent territories. On the basis of the art history analysis of some landscape pieces relating to different periods of the master's creative heritage, the author studies the peculiarities of formation of stylistic features of the artist's art and comprehends the influence of the artistic and natural environment of the Far East on his creative outlook. The author considers main themes of the artist's landscape compositions, where the domestic Far East (devoted to the depiction of landscapes of the Russian Far East), the Near East and the Foreign Far East (depicting views of the nearby foreign territories of China and the Republic of Korea) are distinguished. The author analyses the peculiarities of the artist's creative method, notes the continuity of the academic realistic painting line and the new qualitative characteristics that he brought into the development of the landscape of the Far Eastern region of Russia, identifies their role in shaping the traditions of the Ussuriysk painting, representing a bright branch of development of the coastal visual arts. New facts of the painter's creative biography are introduced and generalized, where the painter's creative work in the development of artistic life of Primorye and Ussuriysk in particular is evaluated. Summarizing the achievements of A.V. Tkachenko in the landscape genre, which even today largely determine the artistic identity of the Russian Far Eastern landscape, dynamically introducing it into the foreign Far East, their role and importance in the development of the domestic regional art of the present is defined.
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Park, Ji-young. "A Comparative Study on the Appreciation and Adoption of Dijian tushuo in China, Korea, Japan, and France." Korean Journal of Art History 311 (September 30, 2021): 5–43. http://dx.doi.org/10.31065/kjah.311.202109.001.
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Dijian tushuo (帝鑑圖說; The Emperor's Mirror, Illustrated and Discussed) is a book compiled by Zhang Juzheng (張居正, 1525-1582), a great scholar during the late period of the Ming Dynasty of China. The book was made for the education of Wanli Emperor (萬歷帝, r.1572-1620), who rose to the throne at an early age. It contains 117 stories about the virtuous and evil deeds of previous emperors, complete with illustrations and relevant articles. After its presentation to the emperor in 1572, several editions of the book were produced by the end of the nineteenth century, and copies were distributed to neighboring countries like Korea and Japan and even to France via Jesuit missionaries. There are copies of more than twelve extant woodblock-printed and lithographic editions in East Asia, as well as copies reprinted with copper plates in France. Also, copies of the book with color illustrations remain in China and France. In Korea, colored illustrations of Dijian tushuo are kept under different titles such as Gunwang jwaumyeong (君王左右銘; The King's Motto) and Dohae yeokdae gungam (圖解歷代君鑑; The Mirror of Rulers throughout the Ages, An Illustrated Explanation) at the Gyeonggi Provincial Museum and the Jangseogak, the archive of the Academy of Korean Studies, respectively.<br/>In China, Dijian tushuo formed part of the education of the crown princes during the Ming and Qing Dynasties. More than eight different editions were made by the flourishing commercial publication industry during the two dynasties. In Joseon royal court, the book was recognized as one of the didactic books for the discipline of kingship. As for Japan, the shoguns of the Edo Bakufu used the book to advertise themselves as ideal rulers or to make Chinese royal palace genre paintings as an exotic hobby. Isidore Stanislas Henri Helman (1743~1809), a French engraver, made reprinted copies of the book amid Chinoiseries popularized in eighteenth-century France. The French edition reflects not only the public criticism of King Louis XVI and Marie Antoinette but also Helman’s implicit intention to receive financial support from Marie Louise Josephin de Savoie and the Count of Provence (later Louis XVIII), first in line to the throne at the time.<br/>Dijian tushuo was adopted in various countries in East Asia and Europe between the end of the sixteenth century and the early twentieth century, although the way it was used differed from country to country depending on their respective political, social, and cultural situations. However, all these countries had one thing in common– they had future rulers read the book. Perhaps, the fact that it was written for the education of the crown princes of China served as the stimulus for leaders and intellectuals alike. Studies on the ways in which books like Dijian tushuo were distributed as an aggregation of knowledge, information, and culture are thought to be significant and useful in identifying certain characteristics shared by diverse countries and in shedding light on differences in their political and social backgrounds and their art history.
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錢南秀, 錢南秀. "建構婦女道德空間：《列女傳》圖像在東亞漢文化圈的傳衍." 中正漢學研究 36, no. 36 (December 2020): 001–48. http://dx.doi.org/10.53106/2306036020201200360001.
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<p>由漢代儒家學者劉向（前77–前6）開創的《列女傳》文體，其始便圖文並置。故本文所謂傳衍，便具圖文兩重意義，兩者均經歷了時間上的傳承與空間上的播延，其間因與不同時空語境的交纏互動，而有相應形式、載體、內涵等變遷。本文擬對劉向《列女傳》傳世兩千餘年間在東亞漢文化圈的傳衍過程，作一初步勾勒。首先概括漢唐之間、印刷術發明之前，《列女傳》圖像經由圍屏、壁畫、石刻和卷軸的形式流傳；次論宋明印刷術普及後，圖像如何進入《列女傳》木刻版本。而明代大量《列女傳》及仿作的刻印發行，又影響激發了朝鮮與日本仿作的出現。因卷帙浩繁，斷難求全，惟冀能就目前筆者所蒐集的有限資料，考察比勘，以期理解不同社會、政治、文化、經濟等語境對於婦女道德空間建構及其圖文表述所生影響。</p> <p> </p><p>The genre of the Biographies of Exemplary Women, initiated by the Han Confucian Scholar Liu Xiang （77–6 BCE）, consisted of the texts and illustrations from the very beginning. Thus, a study of its transmission and transformation in the Sinosphere requires examination of both. Throughout the two thousand years, this genre has gone through constant changes of forms, media, and connotations in its interactions with different spatial and temporal contexts. This article intends to summarize this process, first on its evolution through painting screens, murals, stone carvings, and hand scrolls from the Han to the Tang, and then its woodblock versions after the invention of the printing technique in the Song. The spread of the illustrated Ming editions of the Biographies of Exemplary Women into Korea and Japan further inspired its imitative works in these areas. Through a comparative study of excavated materials, this article expects to understand how the sociopolitical, cultural, and economic environments influenced the textual and imagery construction of women’s moral space in the Sinosphere.</p> <p> </p>