星州李氏 家門의 초상화 연구

Abstract

This study introduced 11 figures' portraits of the late Goryeo and early Joseon which were to transmit to the Lees of Seongju(星州李氏), and intensively looked into transmission history of portraits enshrined in Ansanyoungdang(安山影堂) in Seongju, Gyeonbuk and patterns in Imobon portraits(copy-portraits 移模本). Portraits of the Lees of Seongju included Lee jang-kyeong(李長庚 1214~?) who created the branch ancestor in the late Goryeo, and descendants who became retainers and officials in the late Goryeo and early Joseon. Imobon was made many times throughout the 18th and 19th centuries based on the original portraits drawn in the time of their birth. The study targeted Imobon conveyed in Ansanyoungdang in 1714, its Imobon in 1746, and Imobon in 1825 and 1865 as the subjects of study. Imobon in the 18th century showed the temporizing factor of the period before 18th century and painting techniques such as shading which was popular at that time while Imobon of 19th century applied strong colors, monk painters' pattern and expressed various expressive characteristics faithful to Imobon. Portraits of the Lees of Seongju recorded the period of Imobon on the canvas to show the production period, and transmitted many paintings as the model to make it possible to look into diachronic changes. In addition, the locally made patterns and Buddhist colors by Monk painters are unique properties of the portraits, and inform of new aspects and patterns in the portraits of the late Goryeo and early Joseon reflected in monk painters' Imobon. Also, as figures’ portraits of in the early Joseon Dynasty show scholar-officials' characteristics, it is expected that the first figure was drawn by a normal painter, not by a monk painter. Portraits with patterns of the Goryeo period, which were drawn by monk painters, were criticized by the Confucianists’ perspectives in Joseon Dynasty for its preference in Buddhism. It showed that different perspective of viewing the portraits in the Goryeo and Joseon Dynasty was based on the ideological propensity instead of paintings’ forms. In addition, portraits of the Lees of Seongju didn't strictly apply Imobon's principals that had to be precisely copied, which focused on the result of conscious efforts by overall changing the irrational or inconvenient matters of the figure and supplementing them. Through the portraits of the Lees of Seongju, this study prepared a new foundation for the study on portraits of the late Goryeo and early Joseon that remained vacant, and focused on demonstrating and presenting Imobon's patterns and characteristics to show the actual portraits more clearly.