Earticle

한국회화사에서 여성인물화가 집중적으로 많이 출현하는 시기는 조선후기로, 당시 사회의 제도적인 규범이나 관습 및 신분계급 등의 변화가 잘 반영되어 있으며, 표현기법상에 있어서도 당시의 문화양식 · 복식사 · 사상 · 미감 · 화풍 등이 담겨져 있다고 할 수 있다. 유형적인 구분으로는 풍속화와 미인도 등으로 나눌 수 있으며, 이는 시대적인 환경과 표현방법에 따라 다양한 개성과 독특한 조형적 특색을 지니고 있어서 여성인물화에서의 표현기법 연구는 회화사에서 그 의미가 매우 크다고 할 수 있다. 그러나 아직까지 이에 대한 연구는 미비한 실정이다. 따라서 본 고에서는 여성인물화의 표현기법을 세부적으로 파악하기 위한 일환으로 머리 형태를 중심으로 고찰해보고자 한다. 머리를 꾸미는 형식은 당시 여성들의 문화수준과 미의식 · 사회적 제도 등이 반영되어 있어서, 역사적 사료로서의 가치를 지닌다는 점에서 본 연구의 방향에 의의를 두고 있다. 조선 후기에는 사람들의 문화의식이 성장하고 복식면에서도 변화가 일어나면서 머리 형태에서도 변모하는 모습이 나타났다. 특히 여성인물화에서 표현된 머리 형태는 당시의 제도적인 규제나 혼인여부 · 신분제도와 매우 밀접한 관련을 띠며 제작되었다고 할 수 있는데, 이러한 사회적 배경은 구조적 · 규범적 한계에 부딪힌 여성들의 미적 욕구를 일으키게 하여 양산된 가체 · 차액 · 장옷 · 쓰개치마 · 댕기머리 · 쪽머리 · 둘레머리 · 머릿수건 · 트레머리 전모 등의 머리형태가 그림에서 다양하게 표현되었다. 본고에서는 이와 같이 여성인물화에서 볼 수 있는 다양한 머리 형태를 풍속화와 미인도를 통하여 고찰함으로서 그 형태적 변화와 특징을 살펴보고자 하며, 이 머리형태의 표현기법이 당시의 제도적 · 사회적 배경과 문화적 특징 · 당시 여성들의 미의식 등이 반영되고 있었음을 확인할 수 있을 것이다.

It is the era of the Joseon Dynasty that focused on female portraits in history of Korean paintings. Social norms, conventions, and caste are well reflected in those days and even in terms of expression, there are a cultural style · history of costume · ideology · sense of beauty · style of painting. In the case of type classification, it can be divided into a genre painting and portrait of a Beauty, and according to the environment of the times and way of expression, it has a variety of personality traits and unique formative characteristics , so the study on representation technique in female portraits has a significant meaning in history of painting. However, studies on these are still incomplete. Therefore, in this study, we should look into the shape of the hairstyles as part of a detailed understanding of the representation technique of female portraits. A pattern of decorating hair has a meaning to the direction of this study in terms of having value as historical records because it reflects cultural level, asthetic consciousness and social system of woman at that time. In the late Joseon dynasty, hair style changed as people's cultural consciousness grows and clothing style changes. Especially, the hair style showed in female portraits was made with very close relation to the institutional regulation or marital status · caste, and these social background resulted the aesthetic desire of woman who has a structural · standard limit, so hair style such as Ga-Che, Cha-Aek, long hood, head-dress, Daenggi hair, chignon, Dullae hair, head kerchief, chignon Jeon-Mo were espressed in various way in paintings. In this study, we would like to look at the morphological change and characteristic of various hair style in female portraits through genre painting and portrait of a Beauty, and it would be possible to confirm that the representation tecnique of this hair style reflected the systematic, social and cultural characteristics of the time, and the aesthetic consciousness of women at that time.

Art is a rational representation of the living of the human beings. Hair is a kind of arts and people express their feelings using Hair Dress. Human beings has been doing creative activity continuously, this creative activity has been incorporated into the creation of hair style. Hair style created continuously represents the culture of the era. The main reason for studying regarding hair style at the time of the romanticism in 19C is because the hair style of the 19C reflects hair style of the modern times which is popular in 21C. The hair style of the 19C showed the circumstances of civilization at that time and the hair style of the 19C was brilliant and also simple simultaneously. The hair style of the romanticism has been changed. Brilliant hair style of the 18C was disappeared and the use of wig was decreased. Main hair style of the 19C was the curled hair using her own hair. Ribbon and hairband matching with costume were decorated around the hair. The appearance of the free up styled hair is a kind of symptoms returning to 19C. We need to study about the style of the tressed hair which has been developing creatively.

This study included both the theoretical component and the objective data. The theoretical component consists of the Chignon up-style, principles of Wölfflin and preceding studies based on the Chignon up-style and Wölfflin’s principles, adding the visual expression of Chignon up-style through application of Wölfflin’s principles. Wölfflin’s principles include various methods for conceptually grasping individual diversity. These are: linear and painterly, plane and recession, closed and open form, multiplcity and unity, clearness and unclearness. On the basis of the said study, the Chignon up-style which Wölfflin’s principles apply to was created.