조선후기의 野外雅會圖

Abstract

'Ahoi'(or elegant assembly, 雅會) was an unofficial gathering of scholars who focused on poetic refinement, different from the grand official assemblies that were formulaic and commemorative. 'Ahoi-do(雅會圖)' paintings, literally 'elegant assembly paintings' changed according to the socio-cultural circumstances; particularly in form, style, content, and meaning. The newly risen scholar class, absorbing the literati culture of Ming (明, 1368-1644) China and succeeding the mid chosun(朝鮮中期 1550-1700) tradition, spent time admiring nature in open air. Late chosun(朝鮮後期, 1700-1850), 'Yaoe ahoi( 野外雅會 or elegant assembly in the open air)' reflect scholar's desire to pursue their literati culture. The origin of late chosun 'Yaoe ahoi can be found in The Springtime Purification at Orchid pavilion(蘭亭修稧). The literati viewed these ancient figures, not as Chinese, but as 'sages' and 'ancient nobles'. Elegant assembly in the Open Air, a professional painter was commissioned to depict the assembly. Among the special commemorative assemblies, many birthdays and farewell parties were held at homes, while special occasions and regular meetings were held open air. Late chosun 'Yaoe ahoi-do' paintings developed distinctive posture, vision, and composition. However, when depicting special occasions such as birthdays, particularly birthdays of the elderly, the figures were placed in a circular composition. 'Yaoe Ahoi' assembly was a cultural by-product of the literati class. The idyllic man sought after by the literati scholars in these assemblies, was a lofty, composed figure who knew how to enjoy elegant and refined activities. The literati who pursued such noble-mindedness and purity desired to form moral and harmonious relationship with others. Thus, 'Yaoe ahoi-do' paintings presented pictorial creations of the literati who strived to realize the idyllic lifestyle of the virtuous man and the unworldly hermit.