『箋註靖節先生集』에 실린 金禔(1524~1593)의 陶淵明의 초상화와 귀거래도

Abstract

Tao Yuanming (365-427) is the most popular poet in East Asia forever. Most visual forms of his poetry and prose in pre-modern Korean art tend to emphasize his spiritual liberty through his portrait and returning home. The little attention was paid to the origins of visual expression repeated in Joseon paintings. The Korean version of Tao Yunming Anthology, published by King Seonjo’s order in 1583, attempted to add a court painter Kim Si (1524-1593)’s illustration depicting Tao Yuanming’s portrait and Returning Home. Kim Si’s style of Tao Yuanming portrait was to demonstrate a Tao Yuanming bust portrait without quoting from other poems like Chrysanthemum from Drinking Wine. While the text stresses the first scene of the Returning Home, late Joseon painters actually referred to Kim Si’s illustration in the various format of paintings. Kim Si’s visual images provide a model of illustrations for publishing the Korean version of Tao Yaunming Anthology in the 18th century. On the basis of surviving Kim Si’s illustration of Tao Yaunming, this paper attempts to point out Korean aesthetical way to appreciate image and text in Joseon society.