朝鮮時代 賜几杖圖帖과 延諡圖帖
A Study of Album Paintings of Sagwejang and Yŏnsi in the Chosŏn Dynasty
Among documentary paintings of the Chosŏn dynasty, there are a number of works that depicted the honorable and cheery evenṭs for high-ranking officials and were handed down in their families as family treasures. A representative example is paintings for the ceremonies of the sakwejeng 賜儿杖 (bestowing a chair and stick) and the yŏnsi 延諡 (bestowing the posthumous title 諡號. These two ceremonies were quite honorable to the recipients, who normally gave a feast on the occasion inviting guests at home. This study examines several examples of paintings of sagwejang and yŏnsi. The paintings of sakwejang include the albums for Yi Wŏn-ik 李元翼 (1547-1634) and Yi Kyŏng-sŏk 李景奭 (1595-1671), and the paintings of yŏnsi the albums for Yi Chŏng-yŏng 李正英 (1616-1686). Yi Ik-sang 李翊相 (1625-1691). Pak Ch"ung-wŏn 朴忠元 (1507-1581) and Pak Kye-hyŏn 朴啓賢 (1524-1580). They were usually produced in the form of albums during the early seventeenth to the mid-eighteenth centuries. An album for Yi Wŏn-ik"s sagwejang was painted when the sagwejang was restored as a grand event after the Hideyoshi Invasion in 1592, and the practice of making such paintings became popular afterwards. Although the album for Yi Kyŏng-sŏk"s sagwejang followed the one for Yi Won-ik, it presented a model for later works by expanding the composition in three scenes. The three scenes consist of: (1) a government official dispatched to the house of the recipient, holding the king"s writ of appointment and the chair and stick. (2) bestowing them after reciting the writ of appointment, and (3) carrying out a celebration after the event. The tripartite composition of the sagwejang paintings affected the painting of yŏnsi. The yŏnsi albums for Yi Chŏng-yŏng and Yi Ik-sang were also painted in this method, which formed a model for similar works in the mid-seventeenth and the mid-eighteenth centuries. The careful depiction of the scenes in this subject seems due to the fact academy painters were working in compliance with the order. They tried to reproduce the event graphically rather than creating an innovative form and style, and thus similar paintings were produced repeatedly. However, the yŏnsi album of Pak Ch"ung-wŏn and Pak Kye-hyŏn were painted by Chŏng Hwang (鄭榥, 1737-?), a grandson of Chŏng Sŏn (鄭敾), and shows a totally different manner from the previous works. There seems to have been no psychological burden for literati painters to show their subject in the existing style. The albums of sagwejang and yŏnsi exhibit a trend that carefully followed the established model, although documentary paintings were individually painted for the high-ranking government officials, and it is confirmed once again that the documentary painting was mostly painted by the academy painters.
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