조선시대 화조화의 담채법(淡彩法)에 관한 고찰 - 신사임당의 8폭 초충도를 중심으로 -

초록

In the general understanding of traditional paintings, there is a oversimplified categorization, which divides them into Ink Painting and Thick Color Painting. In this dichotomy, Ink Wash Painting is often treated as a supplementary technique in which colors are just added to Ink painting. This study attempts to shed light on the fact that in traditional art more emphasis had been placed on the Ink Wash Painting in association with its symbolic meanings. This study examines the ideological and aesthetical background of the Ink Wash Painting technique in order to unveil the width and breadth of meanings entailed by Ink Wash Painting. Focusing on the Ink Wash Painting technique used in Flower-and-Bird Paintings of Chosun Dynasty, the nature and characteristics of Ink Wash Painting is further elaborated. The Flower-and-Bird Paintings created by Shin Saimdang are discussed as the exemplary case that embodies the Pyeong-Dam-Cheon-Jin ideology by artistically employing the Ink Wash Painting technique. This research has the implications for traditional art education in the sense that it broadens our understanding of Ink Wash Painting by revisiting its ideological and aesthetic significances in traditional art.

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