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영어

Showing upon the paintings during the late (bosun dynasty between the 18th and 19th century, the music formation is much more precious to take along with the historical literary sources. And, as important historical documents, those music formations in the paintings show either solo or ensemble performances consisting of Samhyunyuggak and Taechwita. Particularly, Samhyunyuggak, the wind music ensemble, is shown as one of the most general ensembles of palace music and civil music in the genre paintings. It was also shown as a general ensemble not only in the small number of musical instruments but also in the accompaniment for dancing. But, the formation of instruments and the style of music were differently changed by place and position. Concerning of Taechwita, music instruments were double formed, and its formation and cloches were differently appeared accordingly with the social status of musicians. Dangbipa and Saeng were more often played either in solo or in accompaniment than any other musical instruments during the late Chosun dynasty. Particularly, Dangbipa was popular among the Confucian scholars. Saeng is a music instrument for solo and it is also indicated in the Samhyunyuggak. Especially, we could see that Saeng was played with other musical instruments in 「the painting of Banquet for the Governor of Pyeongyang 」 and 「the painting of Lives and Customs of the People in a Citadel」 which are considered as documentary paintings. As it was shown in the genre paintings, Geomungo and Gayageum were popular as the most representative instruments among the Confucian scholars as well as official kisaeng during the Chosun dynasty. Although the Korean iconographic paintings have been considered as the symbolic historical documents borrowing the Chinese idiomatic phrases and music instruments, we should take a practical consideration on the music instruments and materials for the research of music in the paintings which draw Korean figures and customs.