조선의 畫像과 贊에 관한 窺見

Abstract

According to the historical records, it was Yi Che-hyŏn(李齊賢, 1287-1367) who first introduced a portrait(畫像) into Koryŏ(高麗) that had been painted in Yuan(元). It is presumed that painting portraits became a custom among scholars in Korea, since then. We can also assume that writing a panegyric on a painting also became a custom at the end of the Koryŏ and early Chosŏn period with the fact that Yi Che-hyŏn let someone write a panegyric on his portrait, and King Taejo of Chosŏn ordered a painter to draw a portrait of Cho Chun(趙浚) and Chŏng Tojŏn(1342-98) to compose a panegyric for it. Yet, it would be not true to say that all portraits were drawn during models’ lifetime, and all panegyrics were composed by others which means not by models themselves, as there were not a few portraits painted after model’s death and panegyrics written by themselves. In case of panegyrics written by others, some were composed by a contemporary of the model and others by posterity. It was common to make a character sketch of the model and to explain the reason of drawing the portrait in panegyrics. This article examines several portraits and panegyrics in Chosŏn period especially focusing on the beginning of making portraits with panegyrics and its development, the exercise of government power on making portraits, the relationship between the introspection of scholars and their composing panegyric, the meaning of making Tongkyŏng-sochinchŏp(同庚小眞帖) and their longing for everlasting friendship. This research also confirmed that the panegyric on the portrait of Song Si-yŏl(宋時烈) was not composed by king Chŏngjo as it was widely known but by king Sukjong, and moreover it was not composed for Song Si-yŏl but for Chŏng Mongju(鄭夢周).