earticle

영어

The Album of Sage as a Historical Figure made in the late of Joseon Dynasty is a Narrative Figure Painting showing the will of succession to Confucianism and Dotong. In the 18th century, the painting book mainly involved Six scholars in the Northen Sung Dynasty such as Ch’eng Hao(1032-1085), Ch’eng I(1033-1107), Chang Tsai(1020-1077), Shao Yung(1011-1077), Sima Guang (1019-1086) and Chu Hsi(1130-1200), completed the doctrines of Chu Hsi, with their stories. The Album of Northen Sung Dynasty scholars as a historical figure is mainly based on a book titled Eulogy on the Potrait of Six Scholar written by Chu Hsi. This album is dealing with the fun anecdotes of the scholars and great deeds in their life. Jeong Seon(1676-1759), a famous painter in the former half of the 18th century of Joseon Dynasty, was a one of the most infatuated painters with scholars of the Sung Dynasty. He actively embraced Dotong and ideas of confucianism but described them as hermits enjoying mother nature not as leaders or rulers in an authoritarian attitude. Northen Sung Six scholars, however, had been taken apart since Jeong Seon’s painting to be blended with other various stories or described each scholar alone not together. Kim Hong Do(1745 -?), a representative painter of the late Joseon Dynasty, liked the story of the scholars. In his paintings, however, feelings of seasons or fables were preferred though. Strong bond between the scholars as one were gradually broken mixed with other stories in pictures. The painter viewed them as just narratives with virtues and learnings. The Album of Confucian scholar as a historical figure represents both the successor to Chu Hsi’s Confucianism came from Confucius's Shrine and the recluses tasting the arts with satisfactions in small things in their life. It shows long for life enjoying own lives in arms of nature and greed for temporal power at the same time. Also, the dynamics of power given by authorities and awareness of the stories is loaded there.

한국어

조선후기에 제작된 송대 성현의 고사첩은 유학의 계승과 도통을 표현한 고사인물화이다. 특히 18세기에는 주돈이(周敦頤, 1017-1073), 정호(程顥, 1032-1085), 정이(程頤, 1033-1107), 장재(張載, 1020-1077), 소옹(邵雍, 1011-1077) 사마광(司馬光, 1019-1086)등 북송 육현과 주자(朱子, 1130- 1200)의 고사를 함께 묶은 화첩이 많이 그려졌다. 북송 성현고사첩의 원형과 전범은 주자의 <육선생화상찬(六先生畵像讚)>이며, 그 제재는 성현의 재미있는 일화나 행적이다. 이러한 송대 성현을 가장 많이 도해한 작가는 18세기 전반에 활동한 정선(鄭敾, 1676-1759)이다. 정선은 유학의 도통과 학맥을 적극 수용하되 성현을 엄격하고 경직된 지도자나 통치자가 아닌, 자연 속에 기거하며 도학을 누리는 처사로 표현했다. 18세기 후반부터 송대 육현은 여러 고사와 함께 장첩되거나 단독 작품으로 도해된다. 김홍도(金弘道, 1745 -?)도 송대 성현의 고사를 선호했지만, 계절감이나 우화를 강조하고 다른 고사인물과 더불어 병풍을 꾸미면서 덕과 학식을 겸비한 고사를 시각화했다. 조선후기에 제작된 성현고사상은 문묘종사의 의미를 간직한 주자의 적통이자, 풍류와 낙도를 누리는 은일 처사였다. 이는 세상을 등지고 자연에 기거하는 처사 동경과, 세속적 권력에 대한 욕망을 동시에 간직한 조선 문사의 이중적 자아를 상징한다. 또한 당대의 고사 인식과 관료들이 부가한 ‘힘의 역학’을 표상한다.