painting / album
Album of trades and occupations. 22 scenes. The end-papers with a print on the Keng-Chin T'u and world map. It includes an scene of 'Ssirum' (Korean wrestling), where a sweet-seller, spectators and a pair of wrestlers are painted with simple strokes. Ink and colours on paper. Seal.
- late 19thC-early 20thC
- Made in: Korea
- Height: 36.1 centimetres (album)
- Width: 32.2 centimetres (album)
- Height: 32.2 centimetres (leaf (average))
- Width: 24.5 centimetres (leaf (average))
Inscription Languagetraditional Chinese characters
Inscription TransliterationMun Hyesan jang
Inscription TranslationMun Hye-san’s Seal
These album is based on the original late-18th century paintings by Kim Hong-do, whose genre paintings show ordinary life in a humorous light. His most famous paintings are the twenty-five album leaves in the National Museum of Korea, representing everyday activities such as washing clothes, eating, tiling a house roof, and people such as entertainers, schoolboys, pedlars and farmers. The original paintings have been heavily retouched. Several copies of the album are in existence, including this one, probably completed in the 19th century. Kim's paintings are characterised by the lack of any background and by the masterly arrangement of the figures in space, often in a circle. Another distinguishing feature of his work is the portrayal of round faces with large noses and horizontal almond-shaped eyes. Apart from genre painting, he also mastered landscape, religious, bird, flower and portrait painting; he was one of the most versatile late Choson period painters. Like a true artist, he had little regard for money and died in destitution.2016 National Research Institute of Cultural Heritage catalogue entries:
'This album includes 22 paintings, which are copies of the Album of Genre Paintings (風俗圖帖) by Kim Hong-do (金弘道, 1745-1806?), currently housed in the National Museum of Korea, Seoul. The original album in the National Museum of Korea consists of two paintings of Daoist immortals and twenty-five genre scenes, whereas this album contains one painting of Daoist immortals and twenty-one genre works. The subject of the paintings in this album are in the following order: Dancer and musicians (bottom right); Lunch; Divination; Village well; Tobacco cutting; Mat Weaving; Game of gonu; Smiling faces on the road; Daoist immortals (over two leaves); Women washing clothes; Classroom; Tilling a rice paddy; Archery; Wrestlers (top right); Tiling a roof; Blacksmiths; Road to market; and Fishing. The Seoul album's “Road to Market” occupies two leaves, while in this album only half of the scene is depicted on a single leaf. The four paintings not included in this album are Threshing, Horseshoeing, Honeymooning, and Peddler. The paintings are relatively faithful copies suggesting that the painter possibly saw the Kim Hong-do album. All of paintings in this album, with the exception of four have a square seal of “Mun Hyesan jang” (文蕙山章) meaning “Mun Hye-san’s Seal.” “Game of Gonu” has two more seals, one stamped over the other. Mun Hye-san is most likely a Buddhist monk painter who was from Mun family, having a Buddhist name Chuk-yeon (竺衍) and sobriquets Hye-san (蕙山) or Gosan (古山). Chuk-yeon was introduced as a
top Buddhist painter in an article of Maeil Sinbo [The Korea Daily News] in 1915.
He was known for incorporating secular painting forms and techniques in Buddhist painting, and this album might have been copied for a study of genre paintings.'
'풍속화를 비롯한 22점의 그림이 함께 장황된 화첩으로 김홍도金弘道[1745-1806?]의 진작으로 여겨지는 국립중앙박물관 소장 《풍속도첩風俗圖帖》을 그대로 본 떠 그린 모사본이다. 국립중앙박물관 소장본은 신선도 2점과 풍속도 25점으로 이루어져 있는데, 이 화첩은 21점의 풍속도와 1점의 신선도로 구성되어 있다. 각 장의 양면에 모두 그림이 있으며 그 내용은 다음과 같다.
1장 <무동>, <점심> / 2장 <점괘>, <우물가> / 3장 <담배썰기>, <자리짜기> / 4장 <고누놀이>, <노상파안> / 5장 <신선도>/ 6장 <빨래터>, <서당> / 7장 <논갈이>, <활쏘기> / 8장 <씨름>, <그림감상> / 9장 <길쌈>, <나룻배> / 10장 <주막>, <기와이기> / 11장 <대장간>, <장터길> / 12장 <고기잡이>
국립중앙박물관의 소장본의 <장터길>은 2면에 걸쳐 가로로 길게 그린 그림인데 반하여 이 화첩에서는 원본의 왼쪽 면만을 모사하였다. 또 원작에 있는 <벼타작>, <편자박기>, <신행>, <행상>의 4장면이 없다. 김홍도의 원작을 비교적 충실하게 모사한 작품이며 원작을 직접 관찰하며 그린 것으로 생각된다. <노상파안> 등 7점을 제외한 15점의 그림에 모두 ‘문혜산장文蕙山章’의 백문방인이 날인되었다. <고누놀이>에는 ‘문혜산장’과 함께 주문방인이 2번 연속 상하로 날인되었다. 문혜산은 속성이 문씨이며 호가 혜산 또는 고산古山이었던 화승 축연竺衍[1850년경-1930년 이후]일 가능성이 매우 높다. 축연은 1915년 『매일신보』 기사에 당대 불화의 명인으로 소개된 바 있으며 일반 감상화에서 모티브를 차용하여 불화에 활용한 것으로 이름 높았다. 이 화첩 또한 축연이 풍속화에 대한 연구의 일환으로 모사했을 가능성이 있다.'
On display: G67/dc11
2010-2011, 0ctober - Jan, BM, G67 - Leaves of 'Family riding oxen'; 'Four men playing a game'
2011-2012, BM Gallery 67
2016-2017 22 Jul - 29 Jan, BM, G67, 'Chuseok: Harvest Moon Festival' (Leaf of 'Wrestlers')
2017-2018 1 Feb - 28 Jan, BM, G67, 'Women and the Female Sphere' (Leaf of 'Women washing clothes')
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Object reference number: RFC1674
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