正祖의 奎章閣臣 書齋肖像 요구 : 정조대 서재초상화의 새로운 양상

Abstract

A story about making portraits under the order of the king Jeongjo(正祖 r. 1776-1800) is recorded in Gaseungilsa (家乘逸事, a family’s untold secret) of Rojujip(老洲集) by Oh Hee-sang(吳煕常), the son of Oh Jae-soon(吳載純 1727~1792) who held his position as Kyujanggak(奎章閣) Jaehak(提學). “King Jeongjo ordered the Kyujanggak to create a portrait of Oh Jae-soon. One day, he called the court artist to illustrate the individual figures staying at their homes. Oh Jaehak laid cross-legged in meditation, Kim Jaehak greeted others and swung his bulju(拂麈), Kim Jikhak was dozing off against his desk, drunk. He ordered the court artist to visit the houses and illustrate small portraits; moreover, he requested for the inclusion of the scholar's studio and the specified positions of the window, desk, and inkstone. Kim Jaehak is Kim Jong-soo(金鍾秀 1728-1799), Kim Jikhak is Kim Hee(金熹 1729-1800).” Prof. Kang Kwan-sik introduced this record as 'an expression that could not be seen in the past.’ Thus, this essay explains what the new aspects are and why they are so. In the era of King Jeongjo, the background of the newly introduced aspects, such as Oh Hee-sang’s document, held the point of view of King Jeongjo, art department structure of Kyujanggak, and relationship between King Jeongjo and Kyujanggak’s officers. With this, this text is divided into such three sections: first being the description about the orderer and the sitters, second being the individual titles and procedures in constructing the artworks, and third being the subjects and characteristics of each portrait. Through these, the following essay reveals the parallelism existing among the personalities of the subject figures observed by the king, titles of the works, and speculated scenes in correspondence. In addition to the idealized concept of the scholar’s studio, ‘Myung-chang-jung-gwe(明窓淨几)’, that includes the attempt to raise his loving courtiers’ image values, he requested compliance and loyalty to himself, which shows a complex psychological mind, an ironic and interesting perspective. What personifies King Jeongjo’s style, contrasting to the typicality of the Joseon dynasty portraits, are the space of the scholar’s studio that holds the stationeries, genre painting, and the aura of elegance, and these characters likely held great influence on the works of the 18th century.