@article{oai:tobunken.repo.nii.ac.jp:00006187,
 author = {張, 辰城 and 石附, 啓子 and Chang, Chin-sung and Ishizuki, Hiroko},
 issue = {394},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {This essay explores in detail the ways in which the collection culture of the late Choson period created ambivalent attitudes among collectors towards the possession of antiques through close examination of both Portrait of Literatus Seeking Delight in the Arts and Portrait of a Literatus by Kim Hongdo (1745-ca. 1806). These portraits relate directly to the conflicting attitudes in the consumption of collectibles and luxury goods: non-attachment and obsession. While non-attachment in collecting refers to the refined world of scholar-collectors with sensibility in connoisseurship, obsession indicates the intense preoccupation of aficionados with the material value of collectibles. The late Choson period was a time of material affluence in which the collecting of luxury goods and antiques become a distinctive component of the culture of consumption. The rise of nouveaux riches from the “middle-men (chung’in)” and merchant classes and the formation of a large antique market during the period combined to create stiff competition in the acquisition of collectibles. As the nouveaux riches gained power and influence in the antique market, the conflicting views of non-attachment and obsession in collecting become an important social issue for collectors who had struggled to compromise the moralist and materialist approaches to possessing antiques.
     Kim Hondo's Portrait of Literatus Seeking Delight in the Arts provides a penetrating insight into how the contradiction of non-attachment and obsession was intricately enmeshed in the complex mindscape of a scholar-collector. While the painting presents the extravagant life of an aficionado in possession of rare antiques all imported from China, the inscription addresses the lofty ideals of a scholarrecluse shunning the appeal of worldly goods and pursuing pure delight in the arts. This ambivalent attitude, deeply embedded in Portrait of Literatus Seeking Delight in the Arts, marks a historical moment when the Confucian moralistic practice of collecting and appreciating art works for the achievement of self-cultivation began to be challenged by
the new attitude celebrating the material pleasures of antiques and luxury goods. At the heart of this change in the collecting culture of the time were the rise of nouveaux riches and the wide currency of conspicuous consumption. The nouveaux riches had demonstrated their wealth and power through the conspicuous consumption of antiques and luxury goods as a means of social climbing. A Portrait of Literatus shows a young nouveau riche of the “middle-men” class with a group of antiques and luxury goods such as an ancient bronze vessel, a Chinese kang table, and even a selfsounding clock, all indicative of his economic success and enhanced social status. The sitter's will to ascendancy in the social hierarchy, as suggested in the self-confident and proud gesture as well as in the ostentatious display of luxurious collectibles, indicates that the power of obsession had replaced the Confucian mentality of non-attachment in collecting antiques. It further indicates that late Coson period began to enter the age of consumer revolution in which money became more important than social status in the market. The conspicuous consumption and extravagant life of the aficionado points to the material brilliance of the consumer society that was about to come of age.},
 pages = {68--101},
 title = {朝鮮後期古董書画収集熱の性格―金弘道の《布衣風流図》と《士人肖像》に対する検討―},
 year = {2008}
}