Sin Yunbok’s Kisaeng Imagery: Subtle Expression of Emotions under the Women’s Beautiful Facade

@article{ART001265781},
author={ 정세향 },
title={Sin Yunbok’s Kisaeng Imagery: Subtle Expression of Emotions under the Women’s Beautiful Facade},
journal={Acta Koreana},
issn={1520-7412},
year={2007},
volume={10},
number={2},
pages={73-100},
doi={10.18399/acta.2007.10.2.003},
url={http://dx.doi.org/10.18399/acta.2007.10.2.003}

TY - JOUR
AU - 정세향
TI - Sin Yunbok’s Kisaeng Imagery: Subtle Expression of Emotions under the Women’s Beautiful Facade
T2 - Acta Koreana
PY - 2007
VL - 10
IS - 2
PB - 계명대학교 한국학연구원
SP - 73-100
SN - 1520-7412
AB - Although the highly unconventional Chosŏn-dynasty (1392–1910) court painter Sin Yunbok (born ca. 1758–died after 1815) is renowned as a pioneer of kisaeng imagery in traditional Korean painting, his portrayals of these women have not yet been studied in detail. Examination of his paintings reveals that the professional female entertainers were depicted in a wide range of styles. However, recent scholarship continues to place emphasis on their physical appearance and elegant brushwork, and the subtle emotions expressed beneath their beautiful façade, in diverse settings and circumstances, have so far been completely overlooked. This article examines a number of Sin Yunbok’s celebrated kisaeng images to attain a better understanding of the lives of these women, and their emotions. For sake of clarity, the artist’s kisaeng imagery is divided into two categories based on their stylistic characteristics, namely, depictions of solitary kisaeng and depictions of these beautiful female entertainers in the company of upper-class men or attracting the unwanted attention of Buddhist monks. Through examination of the various images, it will be possible to better understand the diverse emotions of these women, including their loneliness, sadness, annoyance and weariness, and brief moments of pleasure.
KW - Kisaeng, facial expressions, emotions, loneliness, satire
DO - 10.18399/acta.2007.10.2.003
UR - http://dx.doi.org/10.18399/acta.2007.10.2.003
ER -

정세향 (2007). Sin Yunbok’s Kisaeng Imagery: Subtle Expression of Emotions under the Women’s Beautiful Facade. Acta Koreana, 10( 2), 73- 100.

정세향 . 2007, “Sin Yunbok’s Kisaeng Imagery: Subtle Expression of Emotions under the Women’s Beautiful Facade”, Acta Koreana, vol. 10, no. 2, pp. 73-100. Available from: doi:10.18399/acta.2007.10.2.003

정세향 “Sin Yunbok’s Kisaeng Imagery: Subtle Expression of Emotions under the Women’s Beautiful Facade” Acta Koreana 10.2 pp. 73-100 (2007): 73.

정세향 . Sin Yunbok’s Kisaeng Imagery: Subtle Expression of Emotions under the Women’s Beautiful Facade Acta Koreana [Internet]. 2007; 10( 2), : 73-100. Available from: doi:10.18399/acta.2007.10.2.003

정세향 . “Sin Yunbok’s Kisaeng Imagery: Subtle Expression of Emotions under the Women’s Beautiful Facade” Acta Koreana 10, no.2 (2007): 73-100. doi: 10.18399/acta.2007.10.2.003

홈 권호 목록 논문 목록 논문 상세

Sin Yunbok’s Kisaeng Imagery: Subtle Expression of Emotions under the Women’s Beautiful Facade

Acta Koreana

약어 : -

2007, vol.10, no.2, pp.73 - 100

DOI : 10.18399/acta.2007.10.2.003

발행기관 : 계명대학교 한국학연구원

연구분야 : 기타인문학

정세향¹

¹포항공과대학교

인용한 논문 수 : - 서지 간략 보기

초록

Although the highly unconventional Chosŏn-dynasty (1392–1910) court painter Sin Yunbok (born ca. 1758–died after 1815) is renowned as a pioneer of kisaeng imagery in traditional Korean painting, his portrayals of these women have not yet been studied in detail. Examination of his paintings reveals that the professional female entertainers were depicted in a wide range of styles. However, recent scholarship continues to place emphasis on their physical appearance and elegant brushwork, and the subtle emotions expressed beneath their beautiful façade, in diverse settings and circumstances, have so far been completely overlooked. This article examines a number of Sin Yunbok’s celebrated kisaeng images to attain a better understanding of the lives of these women, and their emotions. For sake of clarity, the artist’s kisaeng imagery is divided into two categories based on their stylistic characteristics, namely, depictions of solitary kisaeng and depictions of these beautiful female entertainers in the company of upper-class men or attracting the unwanted attention of Buddhist monks. Through examination of the various images, it will be possible to better understand the diverse emotions of these women, including their loneliness, sadness, annoyance and weariness, and brief moments of pleasure.