明淸交替期 對明 海路使行記錄畵 硏究 (Paintings of the Korean Envoys to Ming by Sea during the Ming-Qing Transition)

서지정보

· 발행기관 : 명청사학회
· 수록지 정보 : 명청사연구 / 27호 / 189 ~ 228페이지
· 저자명 : 정은주

초록

After the deposition of Gwanghaegun(r.1608-1623) and Injo Restoration of 1623, Joseon was under the control of Ming more than ever. During the Ming-Qing Transition, the Korean envoys visited the Ming Court in Beijing by dangerous sea route to keep out of Liaodong(遼東) Later Jin(後金: 1616-1636) occupied. There are some paintings to substantiate that the Korean envoys went to Ming by sea route between Korea and China in the early 17th Century.
Paintings of the Korean envoys to Ming by Sea were painted to commemorate the envoys' fellowship and to hand down from generation to generation. Those paintings are related to Cheokhwapa(斥和派) such as Kim Sang-heon(1570-1652) and Hong Ik-han(1586-1637), the scholar-officials who had argued forcefully against making peace with Qing. Even though, their descendants reproduced those paintings. It proves that Korean scholar-officials how to understand Later Jin in the early 17th Century as well as how to maintain the reverence for Ming dynasty in the late Joseon period.
This paper deals with the humane and historical information of the Sino-Korean relations on the paintings depicting the main route Korean envoys went to Beijing in the early 17th Century.
The name of Seonsapo-port(旋槎浦) in Gwaksan on the paintings is originated from the great pleasure of Korean envoys who returned the port after their tribute mission. The name offers a clue to classify Yeonhaeng-dopok(燕行圖幅) type, painting is about the scene of Ambassador Yi Deok-hyeong along with other Korean envoys visiting the Ming Court in 1624 to request confirmation of the newly clowned King Injo, out of paintings at the time. Also we can find Gado-island(椵島) and Sapo-inlet(蛇浦) in Cheolsan, the Liaodong provincial governor-general Mao Wen-long(1576-1629) and his army stationed, on the paintings. Most of all, the paintings show us how Korean envoys were fear of the sea route to pass through. Its icon is similar to the ocean voyage pattern-copper mirror(煌丕昌天銘鏡) in Goryeo Dynasty.
Paintings of the Korean envoys to Ming by sea depicted the Korean envoys' procession including houses carried diplomatic document in Dengzhou(登州), Chinese first overland way after sea route, and Incense parade for Taisan Mountain God in Jinan(濟南). The parade was encouraged to increase the national income at the time. The map of Yanjing(燕京全圖) shows especially structure of the Ming palace (Forbidden City) in the early 17th Century. After all, Paintings of the Korean envoys to Ming by Sea reflect Sino-Korean relations during the Ming-Qing Transition via the historical sources and the geographical information by the Korean official envoys.

영어초록

After the deposition of Gwanghaegun(r.1608-1623) and Injo Restoration of 1623, Joseon was under the control of Ming more than ever. During the Ming-Qing Transition, the Korean envoys visited the Ming Court in Beijing by dangerous sea route to keep out of Liaodong(遼東) Later Jin(後金: 1616-1636) occupied. There are some paintings to substantiate that the Korean envoys went to Ming by sea route between Korea and China in the early 17th Century.
Paintings of the Korean envoys to Ming by Sea were painted to commemorate the envoys' fellowship and to hand down from generation to generation. Those paintings are related to Cheokhwapa(斥和派) such as Kim Sang-heon(1570-1652) and Hong Ik-han(1586-1637), the scholar-officials who had argued forcefully against making peace with Qing. Even though, their descendants reproduced those paintings. It proves that Korean scholar-officials how to understand Later Jin in the early 17th Century as well as how to maintain the reverence for Ming dynasty in the late Joseon period.
This paper deals with the humane and historical information of the Sino-Korean relations on the paintings depicting the main route Korean envoys went to Beijing in the early 17th Century.
The name of Seonsapo-port(旋槎浦) in Gwaksan on the paintings is originated from the great pleasure of Korean envoys who returned the port after their tribute mission. The name offers a clue to classify Yeonhaeng-dopok(燕行圖幅) type, painting is about the scene of Ambassador Yi Deok-hyeong along with other Korean envoys visiting the Ming Court in 1624 to request confirmation of the newly clowned King Injo, out of paintings at the time. Also we can find Gado-island(椵島) and Sapo-inlet(蛇浦) in Cheolsan, the Liaodong provincial governor-general Mao Wen-long(1576-1629) and his army stationed, on the paintings. Most of all, the paintings show us how Korean envoys were fear of the sea route to pass through. Its icon is similar to the ocean voyage pattern-copper mirror(煌丕昌天銘鏡) in Goryeo Dynasty.
Paintings of the Korean envoys to Ming by sea depicted the Korean envoys' procession including houses carried diplomatic document in Dengzhou(登州), Chinese first overland way after sea route, and Incense parade for Taisan Mountain God in Jinan(濟南). The parade was encouraged to increase the national income at the time. The map of Yanjing(燕京全圖) shows especially structure of the Ming palace (Forbidden City) in the early 17th Century. After all, Paintings of the Korean envoys to Ming by Sea reflect Sino-Korean relations during the Ming-Qing Transition via the historical sources and the geographical information by the Korean official envoys.

참고자료

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