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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The Baeksa Hoecheop (Baeksa assembly album, 『白社會帖』) is a commemorative album published on the event of the assembly of 14 elderly men in 1784. Composed of 22 pages, the paintings are executed ink and light color on paper, and measure 41.5×31.5㎝, The album begins with the tide, “Baeksa Dongyu (Baeksa members enjoy together, 白社同遊),” and then goes on in pages 4 and 5 recording the pen name, birth date, and birth place of the 14 members.
According to the records in pages 4 and 5, the participants included Jeong Gye (鄭棨, 1710-1793), Hong Juman (洪周萬, 1718-?) Jeong Mok (鄭棨, 1720-?), Song Jeno (宋濟魯, 1711-?), Gang Sedong (姜世東, 1714-?), Jeong Jip (鄭集, 1715-?), Eom Gu (嚴球, 1716-?), Yi Jingdae (李徵大, 1717-?), O Myeonggu (吳命久, 1718-?), Hong Gihan (洪起翰, 1719-?), Yi Uihyeong (李宜馨, 1720-?), Yi Hyejo (李惠祚 1721-?), Yi Myoungjun (李命俊, 1722-?), and Sin Taekgwon (申宅權 1722-?).
On pages 6 and 7, an introduction is written by Jeong Gye, while on pages 7 to 14, poetry composed by the participants are listed. On page 15, writings by Song Jeno can be seen, and on pages 16 and 17, additional comments by Yi Hyu (李休, 1708-?), Song Jeyu (宋濟愚 1708-?), Bak Heonchae (朴獻采 1716-?) and Hong Eungjin (洪應辰 1710-?) are found. On page 18, Hong Juman s essay (1793) is recorded, while on page 19, Sin Taekgwon S writing (1797) is found. On pages 20 and 21, it appears that Jeong Suyeong (鄭遂榮, 1743-1832)' s paintings were present, but they are now detached.
Most of the participants were related to each other. Jeong Gye and Jeong Mok. Song Jeyu and Song Jeno were brothers, while Hong Juman and Gang Sedong, Sin Taekgwon and SongJeyu were in-laws. Moreover, Gang Sedong and Gang Sehwang came from dle same Gang family of the Jinju dan. Eom Gu' s father was Song jeno' s father-in-Iaw making the two brothers-in-law. Thus, the Baeksa-hoe(白社會) assembly members constituted of dose-knit families and friends, in similar ages.
Jeong Gye writes in his introduction mat former officials gathered in me west of the city. outside me city walls, in order to spend time together enjoying each others company and composing poetry. And thus, this album was created to record the poetry. Moreover, Sin Taekgwon writes in another essay that the 18 participants were 'extremely dose to each other, sharing and disposing together,' and that their 'good health, comrort, and happiness coming from their correspondence' brought about the production of this album. After retirement, me participants Lived nearby one another and held regular' meetings recalling their past official lifestyle and enjoying their old age.
Most of the poetry included in the Baeksa Hoecheop discuss the strong friendship among the participants or the lamentation on me ephemeral life of me contrasting past and present, instead of me depiction of natural scenery or me specific discussion of people. Vocabulary such as 'peaceful reign: 'song of good harvest: and 'dream of high posts' imply me wealth and glory enjoyed in dle younger days, In contrast, words Like 'old age: 'poor home covered in snow', and 'last sear' anticipate the distress and transient life of me aged.
In his painting, Jeong Suyeong chose to adopt the circular' composition, often used in elderly assembly paintings or commemorative paintings, continuing the mid Joseon (朝鮮, 1392-1910) assembly painting tradition. By placing the pine tree which symbolized longevity. righteousness and friendship on the right hand Side, the painter emphasizes the lofty characteristics of the participants. Moreover, the elderly, wearing everyday clothes, are depicted with Light ink and colors in steady brushwork, TIle background is also painted with light colors, creating an elegant and mellow atmosphere. Thus, dle figures in me paintings of the Baeksa Assembly present a group of intellectual scholars who also enjoyed refilled aesthetic pleasures. The painting itself is a visual creation by me Literati who pursued idyllic morality and unworldly elegance.
The Baeksa Assembly succeeded the mid Joseon assembly painting tradition which depicted the wine-drinking and poetry-composing activities enjoyed in beautiful scenery. The gatherings were more private assemblies formed spontaneously by close friends in order to enjoy the refined lifestyles, rather than public meetings that were political or official. And the production of the assembly album in the 18th century, recording the specifics of the participants, the poetry, and the assembly painting, is significant as such albums were preferred by the newly lisen classes who pursued literati tastes rather than the actual literati class.
According to the records in pages 4 and 5, the participants included Jeong Gye (鄭棨, 1710-1793), Hong Juman (洪周萬, 1718-?) Jeong Mok (鄭棨, 1720-?), Song Jeno (宋濟魯, 1711-?), Gang Sedong (姜世東, 1714-?), Jeong Jip (鄭集, 1715-?), Eom Gu (嚴球, 1716-?), Yi Jingdae (李徵大, 1717-?), O Myeonggu (吳命久, 1718-?), Hong Gihan (洪起翰, 1719-?), Yi Uihyeong (李宜馨, 1720-?), Yi Hyejo (李惠祚 1721-?), Yi Myoungjun (李命俊, 1722-?), and Sin Taekgwon (申宅權 1722-?).
On pages 6 and 7, an introduction is written by Jeong Gye, while on pages 7 to 14, poetry composed by the participants are listed. On page 15, writings by Song Jeno can be seen, and on pages 16 and 17, additional comments by Yi Hyu (李休, 1708-?), Song Jeyu (宋濟愚 1708-?), Bak Heonchae (朴獻采 1716-?) and Hong Eungjin (洪應辰 1710-?) are found. On page 18, Hong Juman s essay (1793) is recorded, while on page 19, Sin Taekgwon S writing (1797) is found. On pages 20 and 21, it appears that Jeong Suyeong (鄭遂榮, 1743-1832)' s paintings were present, but they are now detached.
Most of the participants were related to each other. Jeong Gye and Jeong Mok. Song Jeyu and Song Jeno were brothers, while Hong Juman and Gang Sedong, Sin Taekgwon and SongJeyu were in-laws. Moreover, Gang Sedong and Gang Sehwang came from dle same Gang family of the Jinju dan. Eom Gu' s father was Song jeno' s father-in-Iaw making the two brothers-in-law. Thus, the Baeksa-hoe(白社會) assembly members constituted of dose-knit families and friends, in similar ages.
Jeong Gye writes in his introduction mat former officials gathered in me west of the city. outside me city walls, in order to spend time together enjoying each others company and composing poetry. And thus, this album was created to record the poetry. Moreover, Sin Taekgwon writes in another essay that the 18 participants were 'extremely dose to each other, sharing and disposing together,' and that their 'good health, comrort, and happiness coming from their correspondence' brought about the production of this album. After retirement, me participants Lived nearby one another and held regular' meetings recalling their past official lifestyle and enjoying their old age.
Most of the poetry included in the Baeksa Hoecheop discuss the strong friendship among the participants or the lamentation on me ephemeral life of me contrasting past and present, instead of me depiction of natural scenery or me specific discussion of people. Vocabulary such as 'peaceful reign: 'song of good harvest: and 'dream of high posts' imply me wealth and glory enjoyed in dle younger days, In contrast, words Like 'old age: 'poor home covered in snow', and 'last sear' anticipate the distress and transient life of me aged.
In his painting, Jeong Suyeong chose to adopt the circular' composition, often used in elderly assembly paintings or commemorative paintings, continuing the mid Joseon (朝鮮, 1392-1910) assembly painting tradition. By placing the pine tree which symbolized longevity. righteousness and friendship on the right hand Side, the painter emphasizes the lofty characteristics of the participants. Moreover, the elderly, wearing everyday clothes, are depicted with Light ink and colors in steady brushwork, TIle background is also painted with light colors, creating an elegant and mellow atmosphere. Thus, dle figures in me paintings of the Baeksa Assembly present a group of intellectual scholars who also enjoyed refilled aesthetic pleasures. The painting itself is a visual creation by me Literati who pursued idyllic morality and unworldly elegance.
The Baeksa Assembly succeeded the mid Joseon assembly painting tradition which depicted the wine-drinking and poetry-composing activities enjoyed in beautiful scenery. The gatherings were more private assemblies formed spontaneously by close friends in order to enjoy the refined lifestyles, rather than public meetings that were political or official. And the production of the assembly album in the 18th century, recording the specifics of the participants, the poetry, and the assembly painting, is significant as such albums were preferred by the newly lisen classes who pursued literati tastes rather than the actual literati class.
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