16세기에 제작된 초기 낙중낙외도 병풍의 고찰을 통하여 사방위와 사계절을 결합하여 표 현되는 3차원의 시공간 표현의 기원을 살펴보았다. 동아시아에서는 예로부터 사계절의 순환 을 통한 새로운 봄의 시각화는 우주 만물의 순조로운 운행과 이상향을 상징하는 주제였다. 특히 정월은 해가 바뀌고 처음으로 돌아오는 달로 새해의 풍년과 안녕을 기원하는 중요한 시 기이며, 12달 중에 예축적인 세시풍속이 가장 많이 집중된 달이었다. 이 기념비적인 병풍은 초토화된 교토를 재건하면서 도시의 번영을 기원하고 예축하는 의미를 지녔다. 초기 낙중낙 외도 병풍의 곳곳에 이들의 예축활동이 세밀하게 묘사된 것은 도시도 병풍이라는 매체가 지 닌 예축의 기능에 충실히 부합하는 선택된 화제였다고 생각된다. 16세기의 낙중낙외도 병풍에는 사방사계의 아름다움으로 장엄미를 강조하는 중세회화의 면모와 미시적이고 다양한 인간 양태의 묘사에 집중하는 근세 풍속화로의 태동이 모두 감지 된다는 점에서 그 의의를 찾을 수 있다.

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun’s paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun- Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

This study intends to consider about the food culture during the latterly Chosun Dynasty through the genre paintings which are depicted realistically about the total food life figures for example not only the foods, but also that people who eat and drink the food and eating implements, eating methods. There are 9 pieces of works Kim hong-do's which are the best appraisal on the incorporated Korean emotion and on the real life of general public. Those are selected for this study's characteristics through the literature consideration. The characteristics of the tableware pottery and food culture are following things. The first is a white porcelain's development and popularization. In the latterly Chosun Dynasty period, the development of the agriculture and commerce made been connected to the affluent food cultures, these made increase the porcelain's use of upper classes and these made been connected to the development of the porcelain's cultures. The second is the development of various pottery with a dark brown glaze manufactures. The development of agriculture and economy power made bring the development of the kinds of sauces and Kimchi culture with an inflow of foreign crops and these made making the large an earthenware pot or jar which could store something during the long time. The third is the development of the small dining table on the eating the bread of idleness. In the Chosun dynasty period, the food style was been unified to he eating the bread of idleness and been lowered. These made developed of various small dining table through the underfloor heating system's generalization. The fourth is the development of the spoon with the soup culture. It is the East Asia called that the spoon culture boundary, this show the characteristic that we use the spoon mainly compare with another countries. Finally, it is universal use of the fixed quantitative implements. They could live quantitative life with the scales which are jar of soy sauce, liquor jug, jar, scoop leading a set of tableware.

This present study suggests a wider view of our ancestors' food culture by examining the generality and peculiarity of the food culture of the Chosun Period by associating the culture with genre paintings made in the 18th~19th century in Korea. People in the Chosun Period outwardly advocated the Confucian idea reflecting the life philosophy of Chinese. However, the vitality of common people's frank and simple lifestyles saturate genre paintings and display Korean food culture and sentiments of the age. Initially this paper examines the history of food sociology through Namjong literary artists' paintings. The meaning and philosophy of drinks are considered in relation to the trend of declining tea culture among scholars in the mid-Chosun Period with the policy of promoting Confucianism and oppressing Buddhism. Secondly, this paper investigates the background of genre paintings in the late Chosun Period, and examines the unique food culture of Koreans appearing in paintings, particularly with regard to the abundance and variety of seasoned vegetables appearing in genre paintings, our ancestors' sentiment appearing in milk-gathering painting, humanity in guest reception, food culture and view of nature in farm villages, fishing life history, food distribution culture, soybean-curd culture, etc.

한민족의 공통적인 삶의 풍속은 신분이나 계급의 구분 없이 삶의 감정을 반영하고 있다. 우리 민족만이 가지는 정서와 해학과 유머가 곁들여진 멋들어진 그림으로서의 풍속화는 우리의 역사와 함께 하며, 진실을 담아내는 그릇처럼 사실성과 기록적 성격, 도상적인 전통미를 드러내고 있다. 각각의 시대상황과 문화, 예술, 철학, 종교 등을 화면의 조화로움과 미의 세계를 구축하며 그려진 풍속화야말로 게임그래픽의 도상학적 원류로 보아도 좋을 것이다. 게임이 가상현실의 재현으로, 그 속에서 게임을 즐기는 유저들이 생활하는 또 하나의 공간으로 이해 됐을 때, 창조적인 기획력과 예술성 있는 그래픽의 개발은 반드시 필요하며, 또한 새로운 컨텐츠의 개발로서, 우리의 전통 풍속화에 대한 관심이 필요한 때이다. 풍속화에 대한 현대적인 재해석과 표현기법의 개발로, 게임그래픽 도상의 다변화를 꾀해 다양한 연령층의 유저 확보가 가능해진다면, 게임의 저변화로 게임산업 발달의 초석을 이룰 것은 자명한 일이다.