연구홍보포털

논문 초록 (Abstract)

A predominant view among Korean art historians and scholars is the employment of transparent methods concerning Western perspective, while opaque methods were employed concerning Eastern oblique. Accordingly, many researchers have reached dichotomous conclusions on the corresponding use of perspective. This study, however, is an attempt to rethink such dichotomous conclusions that rely on the said views through the showcasing of interesting instances where, using the terms of Nelson Goodman, perspective enhanced both the depictive and exemplificational qualities of the architectural drawings of the late Joseon Period. During this period, it appears that the Western perspectival conventions gradually permeated Joseon culture and society including the commencement of their employment in art and architecture; however, the Eastern oblique conventions remained the dominant methods of artists and architects regarding their building representations. They noticed that, over time, perspective was used not only for depicting the actual appearance of a building, but also for exemplifying its significance. Therefore, this study examines the visual qualities and symbolic significance of the architectural drawings of the Hwaseong-sungyeok Uigwe and the Jeongni Uigwe, published in the late Joseon Period, and then explains the exemplificational role of perspective used in these two uigwes.