A Study on Figure Paintings of Geungjae Kim Deuk-shin : Focusing on Taoist and Buddhist Figure Paintings

Notwithstanding his status in the history of Korean painting, studies on works by Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754~1822) have not been actively conducted and this applies to his Taoist and Buddhist figure paintings as well. While a considerable number of Taoist and Buddhist figure paintings are known for his significant performance, studies have been limited to simple introductions or have focused on the influential relationship with his senior painter, Kim Hong Do, rendering it difficult to view them in a stereoscopic and comprehensive manner. Therefore, this paper attempts to comprehensively study his Taoist and Buddhist figure paintings by classifying them into their main subject: figure vs. landscape, and analyzing their origins and characteristics. Under the influence of various paintings and drawings from China and the works of senior painters such as Kim Hong Do, Kim Deuk-shin faithfully inherited the tradition of the late Joseon Dynasty’s Taoist and Buddhist figure painting, while also establishing his own figure painting style through new experiments and transformations. Examples would include paintings without backgrounds that highlight figures and those centered on landscapes that may be considered general landscape paintings. Kim Deuk-shin also left behind colorful Taoist and Buddhist figure paintings by depicting portraits of various groups, combining Taoist immortals that had not been attempted before, and creating new canvas compositions. His technique and style also demonstrate that he was one of the most skilled painters in the late Joseon Dynasty as his techniques varied, including the literary and the royal court painting styles. In addition, his portrait painting style was passed down to his descendants, the Gaeseong Kim clan, as a family tradition, and provided some inspiration for the works of later painters. In conclusion, his Taoist and Buddhist figure paintings, along with those of Kim Hong Do, not only led to the development and prevalence of Taoist and Buddhist figure paintings in the late Joseon Dynasty, but also laid the foundation for its influence until the end of the Joseon Dynasty.