Feminine Space in Court Paintings of Late Joseon Dynasty
DC Field | Value | Language |
---|---|---|
dc.contributor.author | 유재빈 | - |
dc.date.accessioned | 2022-12-05T01:41:17Z | - |
dc.date.available | 2022-12-05T01:41:17Z | - |
dc.date.created | 2022-12-05 | - |
dc.date.issued | 2022-12 | - |
dc.identifier.issn | 1229-0076 | - |
dc.identifier.uri | https://scholarworks.bwise.kr/hongik/handle/2020.sw.hongik/30615 | - |
dc.description.abstract | This article analyzes the female figures and feminine space in court ceremony paintings of late Joseon. I attempt to expand the discussion from a gendered perspective, which has until now been limited to paintings of or by women, to a wider genre of paintings through the concept of feminine space. First, I examine narrative figure paintings such as “Guo Fenyang’s Enjoyment of Life” and “The Banquet of the Queen Mother of the West at the Turquoise Pond” to look at space symbolizing women. Although these paintings are based on Chinese historical narratives, they contain many elements that recall the inner palace, the feminine space in the palaces of Joseon, and inner banquets, which were rituals of women. The arrangement of the inner palace on the right, or east, side of the paintings in contrast to their Chinese versions is likely related to how hall in which the queen dowager resided was referred to as the eastern palace in late Joseon. Meanwhile, the feminine space in court ceremony paintings, which recorded royal rituals, shows how the status of women changed in these rituals. The boundaries and public nature of inner banquets expanded in late Joseon. Such changes were reflected in the expression of feminine space in court ceremony paintings, including visualizing feminine space, which used to be hidden behind red beaded curtains, and placing the queen dowager’s seat at the clear apex of the hierarchical composition. The strengthening of the presence of the queen dowager and the expansion of feminine space in court paintings of late Joseon can be thought in relation to how the political influence of the women of the royal family expanded through their regency. | - |
dc.language | 영어 | - |
dc.language.iso | en | - |
dc.publisher | 한국학중앙연구원 한국학중앙연구원 | - |
dc.title | Feminine Space in Court Paintings of Late Joseon Dynasty | - |
dc.title.alternative | Feminine Space in Court Paintings of Late Joseon Dynasty | - |
dc.type | Article | - |
dc.contributor.affiliatedAuthor | 유재빈 | - |
dc.identifier.doi | 10.25024/review.2022.25.2.11 | - |
dc.identifier.scopusid | 2-s2.0-85168867664 | - |
dc.identifier.wosid | 000925876700002 | - |
dc.identifier.bibliographicCitation | The Review of Korean Studies, v.25, no.2, pp.11 - 82 | - |
dc.relation.isPartOf | The Review of Korean Studies | - |
dc.citation.title | The Review of Korean Studies | - |
dc.citation.volume | 25 | - |
dc.citation.number | 2 | - |
dc.citation.startPage | 11 | - |
dc.citation.endPage | 82 | - |
dc.type.rims | ART | - |
dc.type.docType | Article | - |
dc.identifier.kciid | ART002901292 | - |
dc.description.journalClass | 1 | - |
dc.description.journalRegisteredClass | scopus | - |
dc.description.journalRegisteredClass | kci | - |
dc.relation.journalResearchArea | Asian Studies | - |
dc.relation.journalWebOfScienceCategory | Asian Studies | - |
dc.subject.keywordAuthor | “Guo Fenyang’s Enjoyment of Life | - |
dc.subject.keywordAuthor | ” “The Banquet of the Queen Mother of the West at the Turquoise Pond | - |
dc.subject.keywordAuthor | ” paintings of celebratory royal banquets (jinchando) | - |
dc.subject.keywordAuthor | court rituals | - |
dc.subject.keywordAuthor | feminine space | - |
dc.subject.keywordAuthor | queen dowager | - |
dc.subject.keywordAuthor | eastern palace (dongjo) | - |
Items in ScholarWorks are protected by copyright, with all rights reserved, unless otherwise indicated.
94, Wausan-ro, Mapo-gu, Seoul, 04066, Korea02-320-1314
COPYRIGHT 2020 HONGIK UNIVERSITY. ALL RIGHTS RESERVED.
Certain data included herein are derived from the © Web of Science of Clarivate Analytics. All rights reserved.
You may not copy or re-distribute this material in whole or in part without the prior written consent of Clarivate Analytics.