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Ch’ilgwang (七狂, Seven Madmen) a group of seven individuals, including Kim Taerip, who sought refuge in nature following the significant political event, Kyech’uk Oksa (癸丑獄事), in 1613 during the reign of King Kwanghae. Of these seven, five were later joined by another five, who together embraced an ideal, tranquil lifestyle at a pavilion known as Songjŏng. This larger group came to be known collectively as Sip’yŏn (十賢, Ten Sages). Ch’ae Yongsin’s 1910 paintings, Ch’ilgwangdo (七狂圖, Painting of the Seven Madmen) and Songjŏng sip’yŏndo (松亭十賢圖, Painting of the Ten Sages at Songjŏng), feature these historical figures from centuries past set against the background of the early 20th century landscapes. Ch’ilgwangdo integrates the visual features of three painting genres, gathering painting (kyehoedo), portraiture, and estate painting (pyŏlsŏdo).
This paper examines the transmission of Ch’ilgwangdo up to the 18th century and brings to bear the role of visual imagery by analyzing an account by Yi Sanghyŏng’s sixth-generation descendant, who showcased the painting and explained his ancestor’s significant achievements. Post-the 19th century, the Togang Kim family initiated several projects to elevate their clan’s status in the T’aein region. These projects included multiple renovations of Songjŏng, construction of the Rear Songjŏng, and an ancestral shrine. Commissioning Ch’ae Yongsin, known for his detailed expressions and real scenery landscape paintings, was part of this effort to visualize the Seven Madmen. The placement of Ch’ilgwang figures within the broader landscape of Taein, including Songjŏng, in Ch’ae’s painting echoes a similar intent found in O Chunsŏn’s (1851~1931) Yongjin chŏngsado (湧珍精舍圖, Painting of Yongjin Private Residence for Educating Students) and Portrait of Ch’ae Myŏnmuk, both of which portray the actual landscapes of his estates. This interplay of landscape and figure representation underscores the history and status of the Kim family, which has upheld its high renown and influence in the region for generations.
This paper examines the transmission of Ch’ilgwangdo up to the 18th century and brings to bear the role of visual imagery by analyzing an account by Yi Sanghyŏng’s sixth-generation descendant, who showcased the painting and explained his ancestor’s significant achievements. Post-the 19th century, the Togang Kim family initiated several projects to elevate their clan’s status in the T’aein region. These projects included multiple renovations of Songjŏng, construction of the Rear Songjŏng, and an ancestral shrine. Commissioning Ch’ae Yongsin, known for his detailed expressions and real scenery landscape paintings, was part of this effort to visualize the Seven Madmen. The placement of Ch’ilgwang figures within the broader landscape of Taein, including Songjŏng, in Ch’ae’s painting echoes a similar intent found in O Chunsŏn’s (1851~1931) Yongjin chŏngsado (湧珍精舍圖, Painting of Yongjin Private Residence for Educating Students) and Portrait of Ch’ae Myŏnmuk, both of which portray the actual landscapes of his estates. This interplay of landscape and figure representation underscores the history and status of the Kim family, which has upheld its high renown and influence in the region for generations.
목차
Ⅰ. 머리말
Ⅱ. 17세기 전반 ‘칠광십현’ 그림 제작과 전래
Ⅲ. 19세기 이후 도강(道康) 김씨 문중의 부흥 전략과 칠광 소환
Ⅳ. 맺음말-1920년대 산수 배경 초상화의 제작
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