남송-­명대 공자 형상의 전개에 대한 연구 : 『성현도』와 『성적도』의 분석을 중심으로

다국어 초록 (Multilingual Abstract)

This thesis explores the development of images of Confucius focusing on the Shengxiantu(聖賢圖) and the Shengjitu.(聖蹟圖) Time span of interest is from Southern Song to Ming Dynasty. At the turn of Southern Song, the image of Confucius in the Shengxiantu was associated with the influence of the then image of Confucius. In Ming Dynasty, Shengjitu became predominantly visible in large quantity. As the images of Confucius of different eras developed diversely with words (historic data) and paints and books, which have been preserved till date, we are able to explore, by looking back on the all such images available today, such images and the influences of the then social contexts. Also, by organizing and analyzing the versions available today, we can investigate the distinctiveness of the any version from the others. Being images of Confucius, however, the differences between them may present some meanings.
An analysis of the Shengxiantu in Southern Song was conducted in three parts. First, the context in which the Shengxiantu appeared and their painters, second, disciples in captioned pictures and pictures of the saints. And third, characteristics and influence of the Song images of Confucius. The Shengjitu was investigated in four parts. First, organizing the images of Confucius since Song Dynasty; second, versions and patterns of Shengjitu; third, a comparison of the Shengjitu’s, and an analysis of the feature of the development of Shengjitu from five versions; and fourth, the context and influence of Shengjitu.
This article involves two core methodologies. One is viewing the images as well as paying attention to their context in time, such that the influences and characteristics of the pictures can be brought out. The other is taking the remarks and the contents of the pictures equally importantly to the pictures themselves, where whether there are remarks, whether there are headings in the image versions, and the differences in texts should all be analyzed. Thus, the Shengxiantu’s in Southern Song must be connected to the Confucian thinking inherited from the society in Northern Song. As such, Shengxiantu’s began to be used to recreate the Confucian thinking and to carry on its philosophy too.
That applies to Shengjitu’s as well. Many versions of them emerged in the historical context, but a system can be seen during the process of gathering and organization. Further analysis of the versions revealed that those pictures can differ in orders, variances, headings, captions and quantities, which suggest different meanings in the making the versions. As such, being the Shengjitu’s of the image of Confucius, in the first picture and the last one, the meaning changed with the version.
From this article it is clear that the development of the image of Confucius in Song to Ming Dynasties were diversified and cross-affecting. A such image represents the context of an era and epitomizes the propagation of Confucian thinking, or changes in academic thinking or national systems. Thus we can find out the implications of the images of Confucius being able to continue developing and changing in different contexts.

목차 (Table of Contents)

• Ⅰ. 서론 1
• Ⅱ. 남송 『성현도』의 공자 형상 5
• 1.『성현도』의 출현과 작가 5
• 2.도찬 그림과 ‘성현상’중의 제자들 7
• 3.송대 공자 도상의 영향과 특징 13
• Ⅲ. 명대 『성적도』의 공자 형상 18
• 1.명대의 공자 도상 18
• 2.『성적도』의 판본과 양식 20
• 3.『성적도』의 비교 분석 21
• 1)의흥본과 민사본 비교 22
• 2)성적속수본과 공성본, 정통본 비교 25
• 3)『성적도』의 첫 그림과 마지막 그림 26
• 4.완성 배경과 영향 28
• Ⅳ.결론 34
• 표1. 현존 송대의 공묘에 공자 형상들 36
• 표2. 금. 원. 명 시기의 공자 그림들 37
• 표3. 공자『성적도』의 판본 41
• 표4. 공자 성적이 관련 그림들 45
• 표5. 「北平民社影印本」와 「義興鄕校誌本」표제 차이 46
• 표6. 『孔夫子聖蹟圖續修五倫實行』과 『孔聖家語圖』의 표제 46
• 참고문헌 48
• 圖版目錄 51
• 圖版 53