조선후기 민화에 나타난 호도에 관한 연구

목차

Ⅰ. 서 론

Ⅱ. 호도(虎圖)의 기원 및 설화
1. 호랑이 그림의 내력
2. 사상적 배경
3. 민담 설화
4. 호도(虎圖)의 수호, 벽사적 의미

Ⅲ. 호도(虎圖)의 유형
1. 작호도(鵲虎圖)(호작도, 까치호랑이 그림)
2. 산신도(山神圖)
3. 호피도(虎皮圖)
4. 호렵도(수렵도, 사냥그림)
5. 용호도(龍虎圖)
6. 부적(符籍) 그림
7. 기타

Ⅳ. 호도(虎圖)의 조형적 특성
1. 시방식(視方式)
2. 색채

Ⅴ. 호도에 나타난 미의 특질
1. 해학미(諧謔美)
2. 역동미
3. 노련미(老鍊美)
4. 자연과의 친화력
5. 한가로움과 여유

Ⅵ. 결 론

참고도판

참고문헌

본문내용

just as other arts.
The object of this study is tiger folk paintings of the later Chosun dynasty, however, I tried to meention earlier works than them such as rock craving pictures of the New Stone Age and the mural paintings in ancient tombs of Kokuryo. To understand that folk paintings are not awkwardly secular paintings but fine arts, and that under what historical, cultural and social background and by whom the folk paintings were made, and to find out the formative characteristics, speciality and the position of folk paintings in Korean history of paintings and succeed, develope and reevaluate them in the right perspective is the purpose of this thesis.
As the method of study, I synthesized and analyzed various opinions of as many existing folk painting researchers as possible and arranged and analyzed photos, history of arts, collection of thoughts, classics, folk tales, and thesis etc. By doing so, I tried to escape from the prejudice against our folk paintings under the influence of traditional Chinese viewpoint and to understand them with the pure formative intention and look for the direction and course for Korean paintings to pursue by positioning our folk paintings in the proper place of Korean history of art.
A tiger is an animal that we can meet in reality differently from the imaginary dragon. In particular, our nation has imposed special meaning on the tiger, discriminating it from other animals, as an object both to love and hate from ancient times. The kinds of animals which have appeared as an object of the traditional arts are really various, but there's nothing that appeared in the various art fields including picture more frequently than the tiger.
The tiger in the picture hardly differs in the shape outwardly, while the meaning and symbolism of the tiger differ according to the intention and purpose of the work, for the ancients' notion about the tiger was not stereotyped but very diversified. Therefore in watching the tiger picture, we must not appreciate it with a fixed idea. In order to watch the tiger picture properly, first we must understand how the ancients thought about the tiger and why they drew those pictures. Further what was the universal recognition of those who drew or enjoyed those pictures about the tiger at that time like must be taken into consideration.
From this respect, this paper examined the folk painting of the later Chosun Dynasty, especially centering around the tiger picture. In addition, I looked into the origin, ideological background, pattern, individual symbolism and formative character of the tiger pictures. The tiger picture was widely popularized in the historical sense united with folk belief in actual life.
The tiger arts with which the paper dealt in priority have been applied to the usual life including painting, sculpture, etching, embroidery, picture of Buddha, and artworks of those days and their respects for the tiger had great influence on the Korean lives one way or another.

키워드

조선후기 미술,   호도,   민담 설화,   해학미,   작호도