조선 시대 기자(箕子)에 대한 인식과 기자(箕子) 유상(遺像) = The Literati`s understanding of Jizi and Jizi Portraits in Joseon Period

다국어 초록 (Multilingual Abstract)

Jizi was a sage at the end of Shang Dynasty, China, With the fall of Shang and the rise of Zhou, he is known to have led thousands of migrants and fled to Joseon and started there a new dynasty, Jizi Joseon. During the Three Kingdoms Period of Korea, the people of Goguryeo worshipped Jizi as the founding god. During the Goryeo and Joseon periods, Jizi was recognized as the confucian monarch who enlightened the people and turned them into civilized people. In late 16th century when the study of neo-confucianism intensified, and the scholarly understanding of Jizi deepened, Jizi began to be accepted as the king who practiced Hong-fan[洪 範], the most ideal statesmanship, and was equaled as the confucian sages, Kong-zi[孔子], Meng-zi[孟子], Cheng-zi[程子], and Zhu-zi[朱子]. It was in such a circumstance that the first ever Jizi portrait was introduced in Joseon. Seo Seong[徐省], governor of Pyeong-an Province, bought and brought from China in 1600 a painting of Jizi explaining Hong-fan[洪範] known to have been painted by Zhao Meng-fu[趙孟咐]. He had it kept in Inhyeon Seowon[仁賢書院] in Pyeongyang. Since there had been no Jizi portrait in Joseon until then, it was regarded as an important portrait. In 1626, Yi Jeong-gu[李廷龜], minister of Ritual, dispatched painter Yi Shin-heum[李信欽] to Pyeongyang to have the painting duplicated. Over the course of time, the painting was copied numerous times, and many literati visited the site and wrote about the painting. The painting, Jizi explaining Hong-fan[洪範] is not extant, but its replication done in 1807 by Han Eung-geom[韓應儉], a high-ranking military official, is still kept by his offspring. In the painting is a house with straw-thatched-roof, and four figures; Jizi, Wuwang of Zhou[周武王], Shaogong[召公]. and Taigong[太公]. Jizi wears a unique looking hat, which is known as xuguan [帿冠], and white outfit called shenyi[深衣]. Xuguan is known to be the official hat worn during the Shang dynasty. The painting corresponds to the explanations made by the literati in their writings during the Joseon period, and thus, can be presumed that Han Eung-geom copied the painting faithfully. The interesting part about this painting is that it became model for the woodblock print Jizi Portrait included in the book, Jizizhi[箕子志]. The book was first published in 1580 by Yoon Du-su[尹斗壽] and was enlarged in the early 17th century by adding Yi Yi[李珥]``s Jizishiji[箕子實記] and other works by a number of scholars. This enlarged version of Jizizhi[箕子志] served as the basic material for the study of Jizi. Accordingly the Jizi Portrait included in this enlarged version became model for all the Jizi portraits printed or painted in Joseon therafter. Jizi portrait had never been included in the book of the portraits of sages, kings, and ministers published in China until then, so Jizi iconography was established in Joseon independently. It was not until 1830 that the Jizi portrait was at last included in the Chinese book of portraits(古聖賢像傳略), but the features were defined quite differently. However, the Chinese version of Jizi was never accepted in the portrait of Jizi in Joseon. Quite a number of Jizi portraits painted during the Joseon period are extant today. There are a couple of Jizi portraits painted by Yoon Du-seo[尹斗緖] in the 18th century, and a couple of Jizi portraits included in the album of portraits(歷代君臣圖像) by unknown painters one from the end of the 18th century or later, another from the end of the 19th century or later. Jeong Yoon-yeong [鄭胤永], scholar from the end of Joseon dynasty also painted Jizi portrait in 1874 and made it into an album(箕子畵象帖). Chae Yong-shin[蔡龍臣], one of the most famous portrait painters at the end of the Joseon period painted Jizi portrait in 1908-1909 to be enshrined in the shrine for the sages. Kim Yi-sam[金貳參] also painted Jizi portrait to be enshrined in the Jizi Shrine in Jeungpyeong[증평] in North Chungcheong province. All these Jizi portraits were painted based on the Jizi portrait from the Jizizhi[箕子志]. It can be concluded that the iconography of Jizi portrait was established in the early 17th century in Joseon in the book Jizizhi[箕子志], while it was not until the 19th century that a Jizi portrait was presented in publication in China. This authorized Jizi portrait was presumably taken from the painting Jizi explaining Hong-fan[洪範] which Seo Seong brought from China in 1600. Unlike other portraits of sages, kings, and ministers, Jizi portrait was, thus, established independently and was faithfully followed by painters in Joseon until the early 20th century.