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This paper investigates some facts concerning Namji kirohoe (南池耆老會, Gathering for Elders at Namji Pond) held in June, 1629 and the history of transmission of Namji kirohoe-do (南池耆老會圖), focusing on Tongch'ugong kwan'gye girok (同樞公關係記錄, Related Texts of Tongch'ugong, i.e. Yi Yu-gan). Another source, Tongch'ugong kwan'gye charyo (同樞公關係資料), now kept in the descendant family of Ch?nju Yi clan, is essential for researching some specific aspects on Namji kirohoe.
Y?njihoe sijong-sasil by Yi Yu-gan (1550-1634) included in Tongch'ugong kwan'gye charyo provides us vast information of Namji kirohoe held in June, 1629.
In particular, the text shows well relationships among twelve literati, their meeting during the period of kiro, and other features of such gathering for the purpose of individual affinity. Two colophons by Pak Se-dang and Yi Kwang-sa are important because they let us know that how the painting of Namji kirohoe have been transmitted in families of Yi In-gi (李麟奇, 1549-1631) and Yi Yu-gan. This shows their effort to protect the work because it was related to their families and ancestors lives.
Though several pieces of Namji kirohoe-do were made, given the records concerning their transmission, others were painted after eighteenth century except for one remained in Yi In -gi's family. It is supported by the record of Yi Gu(李構, 1667-1740), says that the painting in Yi In-gi's family was exclusively remained after Py?ngja horan(丙子胡亂). A couple of pieces of Namji kirohoe-do including a version of the Seoul National University Museum, which is though to be the original one made in June, 1629 have been survived. The author investigated seven pieces of Namji kirohoe-do, however, those should be researched in terms of their painting styles. This paper focuses on documentary survey that is supposed to be play a role as the underlying research for their painting style, that will be discussed in detail in other paper afterward.
Y?njihoe sijong-sasil by Yi Yu-gan (1550-1634) included in Tongch'ugong kwan'gye charyo provides us vast information of Namji kirohoe held in June, 1629.
In particular, the text shows well relationships among twelve literati, their meeting during the period of kiro, and other features of such gathering for the purpose of individual affinity. Two colophons by Pak Se-dang and Yi Kwang-sa are important because they let us know that how the painting of Namji kirohoe have been transmitted in families of Yi In-gi (李麟奇, 1549-1631) and Yi Yu-gan. This shows their effort to protect the work because it was related to their families and ancestors lives.
Though several pieces of Namji kirohoe-do were made, given the records concerning their transmission, others were painted after eighteenth century except for one remained in Yi In -gi's family. It is supported by the record of Yi Gu(李構, 1667-1740), says that the painting in Yi In-gi's family was exclusively remained after Py?ngja horan(丙子胡亂). A couple of pieces of Namji kirohoe-do including a version of the Seoul National University Museum, which is though to be the original one made in June, 1629 have been survived. The author investigated seven pieces of Namji kirohoe-do, however, those should be researched in terms of their painting styles. This paper focuses on documentary survey that is supposed to be play a role as the underlying research for their painting style, that will be discussed in detail in other paper afterward.
목차
Ⅰ. 머리말
Ⅱ. 南池耆老會의 槪要 - 참여인물과 교유관계
Ⅲ. 李惟侃(1550~1634)의 「蓮池會始終事實」과 南池耆老會
Ⅳ. 序ㆍ跋文을 통해 본 南池耆老會圖의 傳承來歷
Ⅴ. 맺음말
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