윤두서(尹斗緖)의 <정재처사심공진(定齋處士沈公眞)> 연구-한 남인 지식인의 초상 제작과 우도론(友道論) (Yun Duseo and His Portrait of Sim Deukgyeong: Paintings of a Literati Artist of the Southern Faction (南人) and its Relations to a Theory on Friendship)

서지정보

· 발행기관 : 미술사와 시각문화학회
· 수록지 정보 : 미술사와 시각문화 / 8호 / 152 ~ 193페이지
· 저자명 : 이경화

초록

Yun Duseo (尹斗緖, 1668-1715), one of the most representative literati
painter in late Chosǒn. (1700-1910), left two portraits; one of those is
self-portrait (自畵像), and the other is Jeongjaecheosasimgongjin (定齋處
士沈公眞), which is the portrait of Sim Deukgyeong (沈得經, 1673-1710)
who said to be a friend who shared the friendship like gold and stone with
Yun Duseo. This essay explores the way in which literati painters create
images that are deeply concerned with self-awareness and expression of
interiority through a close examination of the portrait of Sim Deukgyeong.
Portraiture was the specialized genre treated by professional painters
who were members of secondary class in Chosǒn society. Therefore,
literati painters from the ruling class hardly painted portrait. How did he
come to make his friend’s images? What made Yun Duseo to paint his
friend’s portrait by himself? What was the painter’s intention that was
alluded through the friend’s portrait?
This portrait was painted 4 months after friend’s death. Therefore,
Yun Duseo could not contact his model while drawing the portrait, and he
should have painted Sim Deukgyeong’s portrait relying only on his memory.
He might have had some difficulty to represent his friend’s appearance,
and then he used visual, metaphoric elements to reveal his sprit and intelligence
beyond appearance. Yun Duseo shows Sim Deukgyeong wearing
Dongpagwan (東坡冠), an icon symbolizing So Sik (蘇軾, 1037-1101) who
was the most eminent scholar in Northern Song (北宋, 960-1126), and a
plain jade green robe (野服) revealing his social status of non-degree holder.
In addition, Sim Deukgyeong was defined as Cheosa (處士), in the
monumental title on the portrait, which means a recluse denying social
success by himself. These pictorial devices are intended not only to evoke
Sim Deukgyeong’s sprit and intelligence such as So Sik’s, but also to show
his pure and lofty mind like a recluse.
The most important factor in interpretations of literati painter ‘s work
based on high symbolism is painter’s life. Yun Duseo was a heir of the
renowned family in Namin (南人) faction. In early eighteenth century,
Namin was deprived of its political power. Young scholars in Namin faction
were alienated from accessing their political success. Young scholars
including Yun Duseo forced to be a Cheosa, the life of a recluse. Yun
Duseo devoted the rest of his life to painting, literature and studying with
his friends enduring same frustration and dislocation.
The group of Yun Duseo received a instruction in On Friendship (交
友論) written in 1595 by Matteo Ricci(1552-1610), a Jesuit missionary,
which taught‘a true friend is the second self, and my half.’They developed
their own idea based on the concept of friendship borrowed from
Ricci’s idea. They thought true friend is more than their kin and their friend
is none other than themselves. These kind of emotions were characteristic
of these marginalized literati.
Sim Deukgyeong had no official title, no academic career, and no
anthology written by himself. Yi Seo (1662-1723), the writter of
laudatory inscription on the painting and also one of Yun Duseo‘s friends,
lamented that‘if there were none of your portrait, how could we remember
your life?’Without his portrait, as Yi Seo’s inscription says, he would
have vanished away into history. The group of Yun Duseo would have
regarded to remember the life of their friend through the portrait as their
own responsibility
The portrait of Sim Deukgyeong was based on earnest friendship. The
life of Sim Deukgyeong as politically marginalized literati was shared with
his friend Yun Duseo. Yun Duseo who should live as a recluse pursuing
art and literature, not realizing his social ideal is similar to Sim
Deukgyeong. Thus, we can say that the pure and lofty scholar revealed in
the portrait could be a means of expressing the inner self of Yun Duseo, as
well as the image of Sim Deukgyeong. Moveover, the portrait of Sim Deukgyeong
could also be an important clue to interpret Yun Duseo’s self-portrait,
which is one of the most problematic self-image of Chonsǒn
dynasty. Therefore, the portrait of Sim Deukgyeong is a record of verifying
frustrated and alienated Namin literati and their friendship in early eighteenth
century Chosǒn.

영어초록

Yun Duseo (尹斗緖, 1668-1715), one of the most representative literati
painter in late Chosǒn. (1700-1910), left two portraits; one of those is
self-portrait (自畵像), and the other is Jeongjaecheosasimgongjin (定齋處
士沈公眞), which is the portrait of Sim Deukgyeong (沈得經, 1673-1710)
who said to be a friend who shared the friendship like gold and stone with
Yun Duseo. This essay explores the way in which literati painters create
images that are deeply concerned with self-awareness and expression of
interiority through a close examination of the portrait of Sim Deukgyeong.
Portraiture was the specialized genre treated by professional painters
who were members of secondary class in Chosǒn society. Therefore,
literati painters from the ruling class hardly painted portrait. How did he
come to make his friend’s images? What made Yun Duseo to paint his
friend’s portrait by himself? What was the painter’s intention that was
alluded through the friend’s portrait?
This portrait was painted 4 months after friend’s death. Therefore,
Yun Duseo could not contact his model while drawing the portrait, and he
should have painted Sim Deukgyeong’s portrait relying only on his memory.
He might have had some difficulty to represent his friend’s appearance,
and then he used visual, metaphoric elements to reveal his sprit and intelligence
beyond appearance. Yun Duseo shows Sim Deukgyeong wearing
Dongpagwan (東坡冠), an icon symbolizing So Sik (蘇軾, 1037-1101) who
was the most eminent scholar in Northern Song (北宋, 960-1126), and a
plain jade green robe (野服) revealing his social status of non-degree holder.
In addition, Sim Deukgyeong was defined as Cheosa (處士), in the
monumental title on the portrait, which means a recluse denying social
success by himself. These pictorial devices are intended not only to evoke
Sim Deukgyeong’s sprit and intelligence such as So Sik’s, but also to show
his pure and lofty mind like a recluse.
The most important factor in interpretations of literati painter ‘s work
based on high symbolism is painter’s life. Yun Duseo was a heir of the
renowned family in Namin (南人) faction. In early eighteenth century,
Namin was deprived of its political power. Young scholars in Namin faction
were alienated from accessing their political success. Young scholars
including Yun Duseo forced to be a Cheosa, the life of a recluse. Yun
Duseo devoted the rest of his life to painting, literature and studying with
his friends enduring same frustration and dislocation.
The group of Yun Duseo received a instruction in On Friendship (交
友論) written in 1595 by Matteo Ricci(1552-1610), a Jesuit missionary,
which taught‘a true friend is the second self, and my half.’They developed
their own idea based on the concept of friendship borrowed from
Ricci’s idea. They thought true friend is more than their kin and their friend
is none other than themselves. These kind of emotions were characteristic
of these marginalized literati.
Sim Deukgyeong had no official title, no academic career, and no
anthology written by himself. Yi Seo (1662-1723), the writter of
laudatory inscription on the painting and also one of Yun Duseo‘s friends,
lamented that‘if there were none of your portrait, how could we remember
your life?’Without his portrait, as Yi Seo’s inscription says, he would
have vanished away into history. The group of Yun Duseo would have
regarded to remember the life of their friend through the portrait as their
own responsibility
The portrait of Sim Deukgyeong was based on earnest friendship. The
life of Sim Deukgyeong as politically marginalized literati was shared with
his friend Yun Duseo. Yun Duseo who should live as a recluse pursuing
art and literature, not realizing his social ideal is similar to Sim
Deukgyeong. Thus, we can say that the pure and lofty scholar revealed in
the portrait could be a means of expressing the inner self of Yun Duseo, as
well as the image of Sim Deukgyeong. Moveover, the portrait of Sim Deukgyeong
could also be an important clue to interpret Yun Duseo’s self-portrait,
which is one of the most problematic self-image of Chonsǒn
dynasty. Therefore, the portrait of Sim Deukgyeong is a record of verifying
frustrated and alienated Namin literati and their friendship in early eighteenth
century Chosǒn.

참고자료

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