雍正帝의 華夷觀을 통해 본 ≪雍正十二美人圖≫- 漢族 ‘美人圖’를 통한 江南 한족 문화의 他者化

Abstract

This article is the study on a set of court painting called Twelve Beauties of Yongzheng(雍正十二美人圖) through the Sino-barbarian dichotomy(華夷觀) of Emperor Yongzheng(雍正). Yongzheng pursued the doctrine of ‘The Great Unity(大一統)’ and seemed to embrace Han(漢) culture, but on the other, he deliberately otherized their culture. The Qing Empire built by Manchus constantly attacked because of their political legitimacy. Han refugees refused to serve the Qing dynasty because they thought that although Manchu their miliary is powerful, their culture is barbaric. Such an idea was based on the Sino-barbarian dichotomy that differentiated culturally advanced ‘Hua(華)’ from culturally or ethnically backward ‘Yi(夷).’ After becoming emperor, Yongzheng argued that both Hua and Yi were now a part of the same family under the Qing which already had created ‘The Great Unity.’ According to him, all people in the Qing territory were his minister(臣), regardless of ethnic, it sounds like he treated every ethnic equally. However, he veiled criticized Han culture as hedonism and debauchery which had destroyed the Ming dynasty, then revered simplicity and thrift as ‘The Manchu Way’ instead. Emperor Yongzheng’s otherizaion of Han culture like this can be found in Twelve Beauties of Yongzheng. In these paintings, every single Han Beauties who are waiting for some MAN to protect themselves, ‘displayed’ with a lot of antiques symbolizing Han culture. In this case, it is not difficult to analogize that Han Beauties represent every Han culture and the MAN who own them is Emperor Yongzheng. As a result, the symbol and metaphor in these paintings show that Manchu emperor Yongzheng regarded Han culture as a possession and visualized this desire by painting Han Beauties. This paper will examine this example to determine hegemony inherent in culture and learning, and then try to consider of minorities who created -‘otherized’ by culture and learning in our society.