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Among documentary paintings of the Chos?n dynasty, there are a number of works that depicted the honorable and cheery even?s for high-ranking officials and were handed down in their families as family treasures. A representative example is paintings for the ceremonies of the sakwejeng 賜?杖 (bestowing a chair and stick) and the y?nsi 延諡 (bestowing the posthumous title 諡號. These two ceremonies were quite honorable to the recipients, who normally gave a feast on the occasion inviting guests at home. This study examines several examples of paintings of sagwejang and y?nsi.
The paintings of sakwejang include the albums for Yi W?n-ik 李元翼 (1547-1634) and Yi Ky?ng-s?k 李景奭 (1595-1671), and the paintings of y?nsi the albums for Yi Ch?ng-y?ng 李正英 (1616-1686). Yi Ik-sang 李翊相 (1625-1691). Pak Ch'ung-w?n 朴忠元 (1507-1581) and Pak Kye-hy?n 朴啓賢 (1524-1580). They were usually produced in the form of albums during the early seventeenth to the mid-eighteenth centuries.
An album for Yi W?n-ik's sagwejang was painted when the sagwejang was restored as a grand event after the Hideyoshi Invasion in 1592, and the practice of making such paintings became popular afterwards. Although the album for Yi Ky?ng-s?k's sagwejang followed the one for Yi Won-ik, it presented a model for later works by expanding the composition in three scenes. The three scenes consist of: (1) a government official dispatched to the house of the recipient, holding the king's writ of appointment and the chair and stick. (2) bestowing them after reciting the writ of appointment, and (3) carrying out a celebration after the event.
The tripartite composition of the sagwejang paintings affected the painting of y?nsi. The y?nsi albums for Yi Ch?ng-y?ng and Yi Ik-sang were also painted in this method, which formed a model for similar works in the mid-seventeenth and the mid-eighteenth centuries.
The careful depiction of the scenes in this subject seems due to the fact academy painters were working in compliance with the order. They tried to reproduce the event graphically rather than creating an innovative form and style, and thus similar paintings were produced repeatedly. However, the y?nsi album of Pak Ch'ung-w?n and Pak Kye-hy?n were painted by Ch?ng Hwang (鄭榥, 1737-?), a grandson of Ch?ng S?n (鄭敾), and shows a totally different manner from the previous works. There seems to have been no psychological burden for literati painters to show their subject in the existing style.
The albums of sagwejang and y?nsi exhibit a trend that carefully followed the established model, although documentary paintings were individually painted for the high-ranking government officials, and it is confirmed once again that the documentary painting was mostly painted by the academy painters.
The paintings of sakwejang include the albums for Yi W?n-ik 李元翼 (1547-1634) and Yi Ky?ng-s?k 李景奭 (1595-1671), and the paintings of y?nsi the albums for Yi Ch?ng-y?ng 李正英 (1616-1686). Yi Ik-sang 李翊相 (1625-1691). Pak Ch'ung-w?n 朴忠元 (1507-1581) and Pak Kye-hy?n 朴啓賢 (1524-1580). They were usually produced in the form of albums during the early seventeenth to the mid-eighteenth centuries.
An album for Yi W?n-ik's sagwejang was painted when the sagwejang was restored as a grand event after the Hideyoshi Invasion in 1592, and the practice of making such paintings became popular afterwards. Although the album for Yi Ky?ng-s?k's sagwejang followed the one for Yi Won-ik, it presented a model for later works by expanding the composition in three scenes. The three scenes consist of: (1) a government official dispatched to the house of the recipient, holding the king's writ of appointment and the chair and stick. (2) bestowing them after reciting the writ of appointment, and (3) carrying out a celebration after the event.
The tripartite composition of the sagwejang paintings affected the painting of y?nsi. The y?nsi albums for Yi Ch?ng-y?ng and Yi Ik-sang were also painted in this method, which formed a model for similar works in the mid-seventeenth and the mid-eighteenth centuries.
The careful depiction of the scenes in this subject seems due to the fact academy painters were working in compliance with the order. They tried to reproduce the event graphically rather than creating an innovative form and style, and thus similar paintings were produced repeatedly. However, the y?nsi album of Pak Ch'ung-w?n and Pak Kye-hy?n were painted by Ch?ng Hwang (鄭榥, 1737-?), a grandson of Ch?ng S?n (鄭敾), and shows a totally different manner from the previous works. There seems to have been no psychological burden for literati painters to show their subject in the existing style.
The albums of sagwejang and y?nsi exhibit a trend that carefully followed the established model, although documentary paintings were individually painted for the high-ranking government officials, and it is confirmed once again that the documentary painting was mostly painted by the academy painters.
목차
Ⅰ. 머리말
Ⅱ. 조선시대 賜?杖制와 賜諡制의 시행과 변모
Ⅲ. 조선시대 賜?杖圖帖의 제작과 내용
Ⅳ. 조선시대 延諡圖帖의 제작과 내용
Ⅴ. 조선시대 士家行事圖의 一典型 성립과 類型化
Ⅵ. 맺음말
[ABSTRACT]
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UCI(KEPA) : I410-ECN-0101-2009-609-016481421