The Image-Making of Confucian Scholars: The Impact of Zhu Xi Portrait on Korean and Japanese Art
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The portrait of Zhu Xi (朱熹, Chinese: 1130~1200) is one of the most predominant kinds of respected Confucian scholar images in East Asia. An explored aspect of Zhu Xi portraits is almost exclusively assigned to the realm of Neo-Confucian paintings. In almost all major portraits of the Korean Chosŏn period from the seventeenth to the nineteenth century,Confucian scholars portrayed themselves within the image of Zhu Xi. This phenomenon is examined here by taking a comparative approach to the image of Zhu Xi, focusing on the dress codes and postures. The portrait of Zhu Xi functioned as “the symbol of Neo-Confucian scholar” both for self-cultivation (修己) and Confucian rituals. For self-cultivation, Zhu Xi transcribed on his own portrait as self-warning (自警). After Zhu Xi passed away, his portrait was copied for Confucian rituals in China, Korea, and Japan for centuries. During the Chosŏn period, private academies, sŏnwŏn (書院), worshiped the portrait of Zhu Xi together with Korean Confucian scholars. In Japan, the portrait of Zhu Xi was displayed together with other Song Confucian scholars at the ceremony, especially in ‘Worship of Confucius’ (釋奠) at a Confucian temple called Yushima Seido (湯島聖堂), in the Genroku era of the Edo period. The portrait of Zhu Xi at Yushima Seido proves that cultural exchanges had been held between Korea and Japan. The professional Japanese painter Kanō Sansetsu (狩野山雪,Japanese: 1589~1651) painted one of the Confucian scholars portraits (歷聖大儒像), and Korean Confucian Kim Seryŏm (金世濂, Korean: 1593~1646)transcribed Wu Cheng (吳澄, Chinese: 1249~1333)’s poetry in 1636. The image-making of a Confucian scholar was based on two dress codes:“deep robe” (深衣) and “scarf-hat” (幅巾) from the text of Zhu Xi. With “deep robe” and “scarf-hat,” two postures of Zhu Xi portrait, showing a bust and a full-body standing, functioned as the standard portraits for Korean and Japanese Neo-Confucian scholars who learned and aspired the philosophy of Zhu Xi.
Abstract
The portrait of Zhu Xi (朱熹, Chinese: 1130~1200) is one of the most predominant kinds of respected Confucian scholar images in East Asia. An explored aspect of Zhu Xi portraits is almost exclusively assigned to the realm of Neo-Confucian paintings. In almost all major portraits of the Korean Chosŏn period from the seventeenth to the nineteenth century,Confucian scholars portrayed themselves within the image of Zhu Xi. This phenomenon is examined here by taking a comparative approach to the image of Zhu Xi, focusing on the dress codes and postures. The portrait of Zhu Xi functioned as “the symbol of Neo-Confucian scholar” both for self-cultivation (修己) and Confucian rituals. For self-cultivation, Zhu Xi transcribed on his own portrait as self-warning (自警). After Zhu Xi passed away, his portrait was copied for Confucian rituals in China, Korea, and Japan for centuries. During the Chosŏn period, private academies, sŏnwŏn (書院), worshiped the portrait of Zhu Xi together with Korean Confucian scholars. In Japan, the portrait of Zhu Xi was displayed together with other Song Confucian scholars at the ceremony, especially in ‘Worship of Confucius’ (釋奠) at a Confucian temple called Yushima Seido (湯島聖堂), in the Genroku era of the Edo period. The portrait of Zhu Xi at Yushima Seido proves that cultural exchanges had been held between Korea and Japan. The professional Japanese painter Kanō Sansetsu (狩野山雪,Japanese: 1589~1651) painted one of the Confucian scholars portraits (歷聖大儒像), and Korean Confucian Kim Seryŏm (金世濂, Korean: 1593~1646)transcribed Wu Cheng (吳澄, Chinese: 1249~1333)’s poetry in 1636. The image-making of a Confucian scholar was based on two dress codes:“deep robe” (深衣) and “scarf-hat” (幅巾) from the text of Zhu Xi. With “deep robe” and “scarf-hat,” two postures of Zhu Xi portrait, showing a bust and a full-body standing, functioned as the standard portraits for Korean and Japanese Neo-Confucian scholars who learned and aspired the philosophy of Zhu Xi.
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