17-19세기 일본의 임진왜란 문헌에 수록된 삽화의 계통과 특성
On the Stream and Characteristics of the Visual Images of the Imjin War Documents Written in 17th-19th Japan
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In this article, I intended to build the history of visual images included in Imjin war 壬辰倭亂 documents written in 17th-19th Japan and to identify the relation between these visual images and edehon (copybooks of picture for painters and illustrators) or ukiyoes. Three facts became clear. First, the visual images in the Imjin War documents are more conservative than literary contents. (Of course, the same goes for other visual images of the pre-modern Japan). The visual images in the Imjin War documents made between the later 17th and the early 18th century contain traditional subjects since the Middle Ages such as love story and No play more than battle scenes. While documents of the Imjin War seperately formed in the early modern Japan, China and Korea were compilated in Japan between late 17th and early 18th century, the compilated literary contents became to have influenced on the visual images of the Imjin War documents from the first half of the 19th century. Second, previous studies emphasized the influence of the visual images of Ehon Taikōki on those of following documents and ukiyoes. But I revealed that the visual images of Chōsen Seibatsuki and Ehon Chōsenseibatsuki have considerable effect on the visual images of following documents and ukiyoes as well as Ehon Taikōki. Especially,Ehon Chōsenseibatsuki had an effect similar to Ehon Taikōki on ehon and ukiyoes of the late 19th century. Lastly, the visual images of the Imjin War documents have their own characteristic subjects such as the legend of Kato Kiyōmasa’s tiger hunting or his viewing Mt. Fuji from northeast Korean peninsular, as well as favorite subjects in precedent and contemporary visual images. In addition, it sometimes happens that an illustration contained in the precedent Imjin War document motivates the following illustrators to make new story related to the illustration as the case of the visual images of conveying bags of rice of Chōsenseibatsuki and Ehon Taikōki. And the visual images of the Imjin War documents have influenced on other war documents or genres to the early Meiji period.
Abstract
In this article, I intended to build the history of visual images included in Imjin war 壬辰倭亂 documents written in 17th-19th Japan and to identify the relation between these visual images and edehon (copybooks of picture for painters and illustrators) or ukiyoes. Three facts became clear. First, the visual images in the Imjin War documents are more conservative than literary contents. (Of course, the same goes for other visual images of the pre-modern Japan). The visual images in the Imjin War documents made between the later 17th and the early 18th century contain traditional subjects since the Middle Ages such as love story and No play more than battle scenes. While documents of the Imjin War seperately formed in the early modern Japan, China and Korea were compilated in Japan between late 17th and early 18th century, the compilated literary contents became to have influenced on the visual images of the Imjin War documents from the first half of the 19th century. Second, previous studies emphasized the influence of the visual images of Ehon Taikōki on those of following documents and ukiyoes. But I revealed that the visual images of Chōsen Seibatsuki and Ehon Chōsenseibatsuki have considerable effect on the visual images of following documents and ukiyoes as well as Ehon Taikōki. Especially,Ehon Chōsenseibatsuki had an effect similar to Ehon Taikōki on ehon and ukiyoes of the late 19th century. Lastly, the visual images of the Imjin War documents have their own characteristic subjects such as the legend of Kato Kiyōmasa’s tiger hunting or his viewing Mt. Fuji from northeast Korean peninsular, as well as favorite subjects in precedent and contemporary visual images. In addition, it sometimes happens that an illustration contained in the precedent Imjin War document motivates the following illustrators to make new story related to the illustration as the case of the visual images of conveying bags of rice of Chōsenseibatsuki and Ehon Taikōki. And the visual images of the Imjin War documents have influenced on other war documents or genres to the early Meiji period.
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