This study surveys basic costumes and games from the 11 Genre paintings by Junkeun Kim in the book “Korean Games (Stewart Culin 1858-1929)”. The characters in the painting are 3 adult males, 19 boys, and 8 girls. The characters of the general dress-costumes, games and the culture of life from the late 19thCentury in genre painting of Junkeun Kimare are as follow. It is classified as a children’s game and combined game, children’s game classified one more as a boy’s game and the girl’s game from life culture. It also classified the body type and the multi complex type by game character. The boy’s games are kite-flying, spinning tops, playing shuttlecock with the feet, blind man’s bluff, yut (“Four-Stick Game”). Girl’s games are seesaw with board, blind man’s bluff, and marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one’s body type were seesaw with board, tightrope walking and the multi complex type were yut (“Four-Stick Game”), kite-flying. The study results on the costumes of 19 boys, 8 girls, and 3adultsin genre paintings are as follow. Boy’s hair was knotted on the back of the head by ‘Dang-ki’ (Korean traditional hair ribbon) with the middle part in his hair which was colored red and bright brown. A ‘Go-kal’ (peaked hat), ‘Cho-lip’ (straw hat), towel hood, ‘Pung-cha’ and ‘I-um’ for winter on their heads. They wore a ‘Po’ (Korean traditional coat) which was ‘So-chang-i’, ‘Do-ru-ma-gi’ and ‘Jun-bok’ (Korean traditional vest). They were green, yellow green, violet, pink. The boys wore ‘Jeogori’(Korean traditional jacket) which were blue, red, violet, green and pink which reached down to the hip line. The variety of colors was more colorful than men’s. The ‘Jeogori’ had mostly ‘Dunggun-kit’ (a round head collar) or ‘Dangko-kit’ (a round head with nose collar), ‘Kal-kit’ (knife shaped collar) with white ‘Dong-jung’ and fit around the neck and ‘Go-rum’ was short and narrow. ‘Baji’ (slacks) were white with a colorful sash (green, blue and red) knotted at the waist, worn ‘Hang-jun’ (shank band). They wore white ‘Beoseon’ (Korean traditional socks) with Jipsin (straw shoes), ‘Mi-to-ri’, black or red, brown ‘Hea’ (leather shoes) and ‘Sulmal’ (sleigh shoes).They wore a green, indigo and red collar ‘To-si’(Korean traditional wristlets) for winter and attached a ‘Yum-lang’ (a Korean traditional pocket bag). The common man wore ‘Jeogori’ (Korean traditional jacket) which were green and white with a white lining that reached down to the hip line with white ‘Baji’ (slacks). The shape and method of wearing modern man’s Hanbok (a Korean traditional costume) remained unchanged. But it istied by another color sash for padding Jeogori in winter games. They wore white ‘Baji’ (slacks) with a colorful sash (red and white) knotted at the waist and wore a ‘Hang-jun’ (shank band).Park C.S. et al. (2009) found the same result in that the basic color was white with various intermediate colors. They wore padded Jeogori and Bajiin the winter while wearing, single a layer ‘Po’ inthe summer. They wore their hair in a topknot (sangtu) with a green color towel surrounding the forehead with ‘Bungezi’ and ‘Got’ on their head in a topknot. They wore ‘So-chang-i’, but they often did not wear ‘Po’ and put on ‘Jipsin’ (Korean traditional straw shoes) or ‘Sulmal’ (sleigh shoes). The girl’s hair was knotted to the back of the head or with partedbraidedhairso that there was a pigtail over each ear tied with a ‘Dang-ki’ (a Korean traditional hair ribbon) with a middle part in the hair. ‘Jeogoei’ was short and fitted with the narrow sleeve of a short and narrow ‘Go-rum’. It has ‘Dunggun-kit’ (a round head collar) or Dangko-kit (a round head with nose collar) with a white ‘Dong-jung’ and fit around the neck.They wore indigo, green, red ‘Jeogori’ matching the color of the ‘Kit’ (collar), ‘Go-rum’ (ribbon), ‘Kut-dong’ called ‘Ban-hoijang-jeogori’ and with a indigo/red, green/red, and red/indigocolor combination.They wore ‘Chi-ma’ (a Korean traditional skirt) colored red, green, and pink that contrasted with the ‘Jeogori’. The right side of ‘Chi-ma’ was covered to the left side and knotted by a waist band stringin the front of the chest and tucked up skirt. The width of ‘Chi-ma’ was adequate. The white inner slacks came from under the skirt. They put on ‘Jipsin’, brown ‘Hea’ (leather shoes). Through genre painting in the 19thcentury, we know a boy’s ‘Jeogori’ and ‘Ba-ji’ were similar to a modern man’s and boy’s ‘Hanbok’ with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl’s ‘Jeogori’ and ‘Chi-ma’ changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist’s genre painting which was ordered by a foreigner and the late of 19thcentury’s children’s costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the ‘Hanbok’ and establish a costume of life.

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Siméon Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin’s genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin’s paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin’s educational series, this paper argues that the significance of Chardin’s painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a ‘toilette’ in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother’s warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children’s innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child’s personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin’s series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois’s moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.