‘蘇文忠公宋本眞像’과 19세기 蘇軾 이미지

Abstract

Weng Fang-gang 翁方綱(1733-1818) was one of the famous scholar and official in Qing, China. For revival of Su Shi’s study, he supported ‘the rite for Su Shi’s memorial day 東坡祭’ and patronized the portrait for Su Shi. Under his patronage a few kinds of portrait for Su Shi, such as “portrait with bamboo hat and clogs” were copied and distributed particularly in late 18th century and 19th century. This paper is focused to examine “genuine Song version of Su Shi’s portraits 蘇文忠公宋本真像” which has not been examined yet. The original is believed to had been made under the supervision of Monk Qizong 啟宗講主 near Jiangsu Province 江蘇省 before 1394. In this version, Su Shi is standing with his hands folded and hidden within the wide sleeves of his robe, while undergarments are partly exposed. Under the black hat, his face and body are inclined slightly to the right. It had very important role in developing Weng’s theory based on proofs like whiskers and dots on his face that discern the Su Shi’s original portrait from numerous copies. In 1816 Weng has handed it to his prime disciple Li Yan-zhang 李彥章(1794-1836) and asked him to keep the rite for Su Shi’s birthday. In 1834 this “genuine Song version” was inscribed on a stone monument by Li. In a variety of the images, Su Shi’s portraits were reproduced. And that kinds of images which shares the basic icon with “genuine Song version” were introduced to Joseon and Japan from 19th to early 20th century.