20.500.12556/RUL-131252 Korejsko ljudsko slikarstvo minhwa v poznem obdobju Joseon diplomsko delo Korean Folk Painting Minhwa in Late Joseon Dynasty V diplomskem delu sem raziskovala koncept korejskega ljudskega slikarstva (minhwa). Koncept prihaja iz teorije, ki jo je prevzel Yanagi Muneyoshi (Japonski filozof, ustanovitelj gibanja mingei) v zgodnjem 20. stoletju. Gre za tip slikarske produkcije, ki je bil razširjen v poznem obdobju Joseon. Za to obdobje je značilna ekonomska rast in komercializacija, kar se je manifestiralo tudi v slikarstvu. Slikarji ljudskega slikarstva so se zgledovali po smernicah dvorne umetnosti, ki je narekovala simbolni pomen in uporabo. Ljudsko slikarstvo je sprejelo to osnovo in jo dopolnilo s kreativnimi interpretacijami in svobodnejšim izrazom, ki je odražal življenje ljudstva. Spremenil se je tudi način, preko katerega so ljudje dostopali do umetnosti. Slikarji so ustvarjali dela za trg in ne več po naročilu. Prisoten je velik vpliv povpraševanja in splošnega estetskega okusa. Tako so nastajala podobna dela, ki so se vsaj deloma ponavljala slogovno in ikonografsko. Motiv je bil odvisen od namena uporabe. Večina je izhajala iz konfucianizma, daoizma in šamanizma. Ljudem pa so pomagali živeti dolgo, srečno in zdravo življenje brez nesreč ter proslaviti pomembne življenske dogodke. Ljudsko slikarstvo je v preobraženi obliki prisotno še danes in igra pomembno vlogo v odkrivanju značilno korejske kulture, čustev in mišljenja korejskega prebivalstva. In this thesis, I researched the concept of Korean Folk Painting (Minhwa). The concept derives from a theory that was established in Japan in the early 20th century by Yanagi Muneyoshi (Japanese philosopher, founder of mingei movement). It is a form of painting production that was widespread in the Late Joseon Dynasty. At that time there was economical growth and a rise of commercialization which also impacted the art sphere. Folk artists were influenced by the guidelines that were put in place by the court artists that indicated the symbolic meaning and function. Folk painting took this as a base and completed it with creative interpretation and free expression that reflected the lives of the people. The way in which they were able to access artworks also changed. Paintings were now produced for the market and not as commissions. The demand and common esthetic taste played a significant role. As a result, many works were similar in style and meaning. The subject was reliant on form of usage. Subjects mostly stem from Confucianism, Taoism and shamanism. They enabled people to live a long, healthy life without accidents and helped celebrate significant life events. Though somewhat transformed, Folk Painting is also present today and plays a vital part in the discovery of uniquely Korean culture, emotions and the mind of the Korean people. ljudsko slikarstvo minhwa Koreja pozno obdobje Joseon simbolni pomen tradicionalno slikarstvo Folk Painting Minhwa Korea Late Joseon Symbolic meaning Traditional painting true false false [M. Erpič] Slovenski jezik Neznan jezik Diplomsko delo/naloga 2021-09-24 08:15:26 2021-09-24 08:15:31 2022-09-10 04:10:55 0000-00-00 00:00:00 2021 0 Ljubljana 0 Ljubljana 36 str. 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 1970-01-01 75.03:39(519) 483910 77702403 13948.pdf 13948.pdf 1 CFC8BE8BD1883B78B51E5D5DD82E9A62 5b9ff4a4a1dcbd6e247d5093f604d1570a37ee7a2b17cf5ffc340fa93a299b46 8b9b6c9f-1cfe-11ec-a523-00155dcfd717 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=148550 Filozofska fakulteta 0 0 0