‘浴沂章’에 대한 이해와 형상화의 전개

Abstract

Zengdian’s problematic answer in Analects of Confucius was a continuous theme of the poems and paintings produced in the Joseon dynasty. In doing so, there were two kinds of iconography in visualizing; one is the image of Zengdian’s talking and playing a musical instrument ‘se’(瑟) surrounded by his master Confucius and three disciples of Confucius and the other one is the image of what Zengdian answered, in which Zengdian is singing and exposing himself to the wind sometimes with several children swimming. Following Zhuxi’s annotation about Zengdian’s answer, most scholars of the Joseon interpreted Zendian’s answer as an wonderful and metaphorical expression of Confucian spirit. It’s the reason why they employed several key-words from the lines of Zendian’s answer so repeatedly in their various literary works. Their literary works tell us that the history of the two kind of visual iconography related to Zengdian was continuously developed, although a few paintings made in the late Joseon are extant today. An attention point in understanding the history of the iconography of the two images is that a traditional image in which Zengdian plays se and Yuan hui plays jin developed separate route of different subject.