《東國新續三綱行實圖》와 관련 儀軌 硏究 (A Study of Dongguk sinsok samgang haengsildo and Its Related Uigwe)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 25호 / 339 ~ 371페이지
· 저자명 : 오윤정

초록

Haengsildo 行實圖 defined the Confucian concept of ‘three bonds and five moral priciples in relationships’ as the basis of all morality and the fundamental ethics to which all people must adhere in everyday life, while constituting an efficient means of conveying them that could be easily diffused among the general public. Using anecdotes in the form of biographies, they enabled their lessons to be learned through real examples rather than theory, and were rendered comprehensible to illiterate people through the inclusion of engraved illustrations.
Dongguk sinsok samgang haengsildo 東國新續三綱行實圖 was compiled in 1617(the ninth year of the reign of Gwanghaegun, 光海君, r. 1608~1623, 15th king of the Joseon Dynasty) and comprised three parts: Donguk samgang haengsil, Donguk sok samgang haengsil and Donguk sinsok samgang haengsil 東國新三綱行實 Each haengsildo contains tales of filial sons, tales of loyal subjects and tales of virtuous women, respectively. Gwanghaegun, the Joseon monarch at the time, instilled a wide sense of nationhood among the general public through the publication of haengsildo, by highlighting acts of filial piety and loyalty that had enabled Joseon to ward off Japanese invasions, as well as the virtuous women who had maintained their chastity by refusing to submit in the face of the enemy’s aggression. The significance of Dongguk sinsok samgang haengsildo lies in the fact that most of the characters it includes were officially designated exemplary figures(jeongpyoja, 旌表者) from after the Japanese invasion of 1592, and the fact that the large number of characters featured (more than 1,600) are exclusively Korean.
In the case of Dongguk sinsok samgang haengsildo, Dongguk sinsok samgang haengsil chanjibcheong uigwe 東國新續三綱行實撰集廳儀軌 (a record compiled of the deeds of filial sons, loyal subjects and virtuous women from across Korea after the Japanese invasion), remains extant. In the absence of precise records of the production not only of previous versions, but even of Oryun Haengsildo, published later during the reign of King Jeongjo(r. 1776~1800), Dongguk sinsok samgang haengsil chanjibcheong uigwe is highly significant merely for the fact that it is the only haengsildo uigwe to have been preserved.
Dongguk sinsok samgang haengsil chanjibcheong uigwe shows in detail discussions regarding compilation and personnel, confirming the identities of those that took part in the production of the haengsildo through its inclusion of lists of names of Chanjipcheong officials, and drafted scribes and painters. The names of eight painters are recorded Kim Su-un, Yi Sin-heum, Kim Sin-ho, Yi Jing, Han Deok-su, Yi Hong-gu, Yi Eung-bok and Ryu Seong-eop allowing a glimpse of the activity of the mid-Joseon painters that took part in the illustration of haengsildo.
Special characteristics of Dongguk sinsok samgang haengsildo in terms of its editing system are that the Korean annotation of the Chinese text is located behind the last stories, and poems of praise(sichan) have been omitted, features that make it completely different from previous haengsildo.
In terms of its stylistic characteristics, meanwhile, Dongguk sinsok samgang haengsildo contains fewer scenes within each picture, while elements such as buildings, mountains, rivers and clouds, are used not to demarcate space but to form backgrounds this creates the appearance of an expanded background of landscapes. Reflections of the characteristics of the style of depicting of landscapes that appear in extant works of painters Yi Jing and Yi Sin-heum, who took part in the production of the work, can also be found in the landscapes depicted in Dongguk sinsok samgang haengsildo.
Another common theme often considered is the formalized appearance of the landscape backgrounds and forms of representation. This appears to be due to the need to draw a large number of works: more than 1,600. The depiction of characters shows a somewhat more natural style than that of earlier works, with more natural bodily proportions and gentler lines, while a new type of composition, not found in earlier haengsildo, can be seen.
Until now, studies of haengsildo have concentrated on Samgang haengsildo, the first work of the genre. There have also been studies of the subsequent Iryun haengsildo and Oryun haengsildo, but little research on Dongguk sinsok samgang haengsildo has taken place relative to its value as the only haengsildo for which a uigwe remains.
The aim of this thesis is to examine the overall compilation process, focusing on Dongguk sinsok samgang haengsil chanjibcheong uigwe, while investigating painting styles in the mid-Joseon period through the stylistic characteristics that appear in Dongguk sinsok samgang haengsildo. In circumstances where not many mid-Joseon paintings survive, Dongguk sinsok samgang haengsildo, which shows the influence of the mid-Joseon Angyeon(安堅) School of painting, is of high value, and I believe that its relationship to Buddhist and Chinese prints of the same period is another area that must be researched.

영어초록

Haengsildo 行實圖 defined the Confucian concept of ‘three bonds and five moral priciples in relationships’ as the basis of all morality and the fundamental ethics to which all people must adhere in everyday life, while constituting an efficient means of conveying them that could be easily diffused among the general public. Using anecdotes in the form of biographies, they enabled their lessons to be learned through real examples rather than theory, and were rendered comprehensible to illiterate people through the inclusion of engraved illustrations.
Dongguk sinsok samgang haengsildo 東國新續三綱行實圖 was compiled in 1617(the ninth year of the reign of Gwanghaegun, 光海君, r. 1608~1623, 15th king of the Joseon Dynasty) and comprised three parts: Donguk samgang haengsil, Donguk sok samgang haengsil and Donguk sinsok samgang haengsil 東國新三綱行實 Each haengsildo contains tales of filial sons, tales of loyal subjects and tales of virtuous women, respectively. Gwanghaegun, the Joseon monarch at the time, instilled a wide sense of nationhood among the general public through the publication of haengsildo, by highlighting acts of filial piety and loyalty that had enabled Joseon to ward off Japanese invasions, as well as the virtuous women who had maintained their chastity by refusing to submit in the face of the enemy’s aggression. The significance of Dongguk sinsok samgang haengsildo lies in the fact that most of the characters it includes were officially designated exemplary figures(jeongpyoja, 旌表者) from after the Japanese invasion of 1592, and the fact that the large number of characters featured (more than 1,600) are exclusively Korean.
In the case of Dongguk sinsok samgang haengsildo, Dongguk sinsok samgang haengsil chanjibcheong uigwe 東國新續三綱行實撰集廳儀軌 (a record compiled of the deeds of filial sons, loyal subjects and virtuous women from across Korea after the Japanese invasion), remains extant. In the absence of precise records of the production not only of previous versions, but even of Oryun Haengsildo, published later during the reign of King Jeongjo(r. 1776~1800), Dongguk sinsok samgang haengsil chanjibcheong uigwe is highly significant merely for the fact that it is the only haengsildo uigwe to have been preserved.
Dongguk sinsok samgang haengsil chanjibcheong uigwe shows in detail discussions regarding compilation and personnel, confirming the identities of those that took part in the production of the haengsildo through its inclusion of lists of names of Chanjipcheong officials, and drafted scribes and painters. The names of eight painters are recorded Kim Su-un, Yi Sin-heum, Kim Sin-ho, Yi Jing, Han Deok-su, Yi Hong-gu, Yi Eung-bok and Ryu Seong-eop allowing a glimpse of the activity of the mid-Joseon painters that took part in the illustration of haengsildo.
Special characteristics of Dongguk sinsok samgang haengsildo in terms of its editing system are that the Korean annotation of the Chinese text is located behind the last stories, and poems of praise(sichan) have been omitted, features that make it completely different from previous haengsildo.
In terms of its stylistic characteristics, meanwhile, Dongguk sinsok samgang haengsildo contains fewer scenes within each picture, while elements such as buildings, mountains, rivers and clouds, are used not to demarcate space but to form backgrounds this creates the appearance of an expanded background of landscapes. Reflections of the characteristics of the style of depicting of landscapes that appear in extant works of painters Yi Jing and Yi Sin-heum, who took part in the production of the work, can also be found in the landscapes depicted in Dongguk sinsok samgang haengsildo.
Another common theme often considered is the formalized appearance of the landscape backgrounds and forms of representation. This appears to be due to the need to draw a large number of works: more than 1,600. The depiction of characters shows a somewhat more natural style than that of earlier works, with more natural bodily proportions and gentler lines, while a new type of composition, not found in earlier haengsildo, can be seen.
Until now, studies of haengsildo have concentrated on Samgang haengsildo, the first work of the genre. There have also been studies of the subsequent Iryun haengsildo and Oryun haengsildo, but little research on Dongguk sinsok samgang haengsildo has taken place relative to its value as the only haengsildo for which a uigwe remains.
The aim of this thesis is to examine the overall compilation process, focusing on Dongguk sinsok samgang haengsil chanjibcheong uigwe, while investigating painting styles in the mid-Joseon period through the stylistic characteristics that appear in Dongguk sinsok samgang haengsildo. In circumstances where not many mid-Joseon paintings survive, Dongguk sinsok samgang haengsildo, which shows the influence of the mid-Joseon Angyeon(安堅) School of painting, is of high value, and I believe that its relationship to Buddhist and Chinese prints of the same period is another area that must be researched.

참고자료

· 없음