『華陽九曲圖』 연구

Abstract

A beautiful valley in Cheongcheon Township, Goesan County, North Chungcheong Province, Hwayang Neighborhood was designated in 2014 as Scenic Site No. 110. The name “[Nine] Hwayang Valley[s]” or “Nine Bends at Hwayang” (Hwayang Gugok) derives from the fact that Song Si-yeol (1607∼1689), a renowned scholar from the latter half of the Joseon Dynasty (1392∼1910), lived in retirement here during 1666-1688. The name “Nine Bends” (Gugok) originates from Zhu Xi (1130∼1200), who had perfected Neo-Confucianism during the Song Dynasty (960∼1279) in China, Zhu had built a hermitage on Mt. Wuyi in Fujian Province, studying and teaching there. He had also composed “Boating Song of the Nine Bends at Wuyi” (Wuyi Jiuqu Zhaoge), a poem praising the beauty of the nine bends in the stream along Mt. Wuyi. A Korean Confucian during the Joseon Dynasty, Yi I (1536∼1584; penname: Yulgok) wrote “Boating Song of the Nine Bends at Gosan” (Gosan Gugokga) in emulation of Zhu Xi while living in retirement in the city of Haeju in Hwanghae Province. Academically, Song Si-yeol followed Yi I’s steps. As a result, after his death, his disciples named nine places in Hwayang Neighborhood, thus completing the Nine Bends at Hwayang. The main force in Korean political history during the latter half of the Joseon Dynasty, the Westerners or the Western Faction (Seoin) established the academic lineage of Neo-Confucianism leading from Zhu Xi to Yi I to Song Si-yeol. The idea that the orthodox lineage of Neo-Confucianism in China had been transmitted to Joseon stemmed from the fact that the Ming Dynasty (1368∼1644) had been conquered by the Qing Dynasty (1616∼1912), a state founded by the “barbaric” Jurchens (Manchus). Song Si-yeol sought to express Yi I’s “Boating Song of the Nine Bends at Gosan” pictorially, thus creating the Painting of the Nine Bends at Gosan (Gosan Gugokdo). Following his death, his disciples produced the Painting of the Nine Bends at Hwayang (Hwayang Gugokdo). The Painting of the Nine Bends at Hwayang is not simply a true-scenery landscape painting (jin’gyeong sansuhwa) but reflects a tradition and a political background in Neo-Confucianism. Although the Painting of the Nine Bends at Hwayang was created many times, extant versions consist of the one housed in the Chungbuk National University Museum, one created by Yi Hyeong-bu (1791∼1851), and one housed in the Chosun Minhwa Museum. The work housed in the Chungbuk National University Museum accurately indicating the cardinal directions of east, west, north, and south, thus demonstrating its characteristics as a pictorial map.