조선시대 군주고사도 — 제순고사도(帝舜故事圖)를 중심으로 —

Abstract

This essay explores the underdiscussed roles and functions of portraits and paintings of ancient and legendary figures drawn during the Joseon period, especially focusing on the materials and expressive styles used in the paintings of ancient monarchs. In particular, this essay discusses the visual characteristics and themes of paintings of Emperor Shun, a semimythical emperor of ancient China, widely revered for his good deeds. Included in this essay’s analysis are two paintings, namely, Sunjedaehyo (“The Great Filial Piety of Emperor Shun”) and Jesunnamhunjeontangeum(“Emperor Shun Plays the Zither at Namhunjeon”). Sunjedaehyo, a portrait of the ancient emperor as an exemplary and loving son, was included in Samganghaengshildo, written and published for the moral enlightenment of the Joseon public. Jesunnamhunjeontangeum, depicting Emperor Shun as a caring and dedicated king, was displayed in various places in the royal palace. In particular, the latter painting was also included in a collection of writings on ancient Confucian sages and scholars, including Emperor Yao, indicating Shun’s due place in the authentic pedigree of the Confucian tradition. The collection of writings also included Togyemojado (“Building a Staircase of Mud and Making a Rooftop of Straws”), KimHong-do’s take on a well-known episode of the legendary Emperor Yao’s life. While these paintings portrayed figures from Chinese history and mythology, the palace and the garden in the background were quite Korean in their style and influence. These paintings of ancient monarchs drawn during the Joseon period sought to express the diverse virtues of monarchs, such as their leadership, wisdom, and filial piety. They were used to urge good governance and facilitate the moral instruction and enlightenment of the public. The same stories of the same figure were drawn and painted quite differently, depending on the purposes and needs of the artist and the audience.