중국 <종리권도>의 정형성 연구(Ⅰ)

Abstract

Yuan’s great work <鍾離權度呂岩圖>, the intense religiosity expressed in the mural paintings of Eternal Pleasure Palace(永樂宮), Woodblock prints and illustration of Zhongli Quan(鍾離權) during the Ming dynasty, and <the Immortals Zhongli Quan and Lü Tung-pin paintings(鍾呂合圖)> by 張路 and 孟永光, etc. The stereotype of Zhongli Quan(鍾離權), is condensed into five symbolicities: ‘雙髻’, ‘芭蕉扇’, beak and beak eyes, ‘bare feet’, and ‘abdominal protrusion’ that exposes the breast. The formality of Zhongli Quan(鍾離權), is first confirmed in the ≪宣和畵譜≫, publication about the theory of official paintings(官方畫論) during the Northern宋 宣和 (1119-1125) period, earlier than the Yuan dynasty. In the late Tang and the five reigns dynasty’s internal taoist 鍾離權, his figure was already standardized in the Northern Song Dynasty, not the Yuan Dynasty. His iconography achieved the highest religious and artistic achievements in the Eternal Pleasure Palace(永樂宮) murals in the Yuan Dynasty, and through the Ming and Qing Dynasty, secularized and stereotyped with the development of printmaking and illustration(揷圖), which took the method of ‘pictorial description(圖說)’, was transmitted to the neighboring Joseon Peninsula. In addition, the ‘running across a great teacher(遭遇明师)’, which was repeatedly emphasized in 鍾離權’s internal alchemy poem <a song that enlightens the truth(破迷正道歌)>, has a profound influence on character relationships and plot formation in literary works such as miscellaneous plays of the Yuan Dynasty and novels of the Ming Dynasty. It was analyzed that the terminology of the outer and inner alchemy that appeared in the book of internal alchemy ≪鍾呂傳道集≫ played a role in raising the level of symbolic aesthetics in the literary arts by borrowing them directly from literature or turning them into characters. The figurative features and symbolic meanings of him, which emphasized the importance of ‘(worshiping your teacher)拜師’ in internal alchemy training, are as follows when interpreted in the meaning of Taoist internal alchemy. First, a typical Chinese child’s head(雙髻), means ‘returning to a very perfect state’ in the Taoist internal alchemy. Second, it maens ‘doing good and accumulating merit’ in the process of inner-dan(丹) training, by using the same syllable of ‘芭蕉扇(Shan)’ and 勸‘善(Shan)’, which means to encourage low-class people to live kindly. For this reason, it can be seen that the ‘Palm leaf fan(芭蕉扇)’ has become a frequent symbol of not only Zhongli Quan(鍾離權), but also of the masters in Taoism and Buddhism. Third, the half naked figure and abdominal obesity, with his exposing chest and stomach, is similar to a Buddhist monk who smiles brightly, 布袋和尙 image. The abdominal obesity symbolizes ‘great mercy and great embrace’ that can take care of everything in the universe. The three characteristic shapes of 鍾離權 are the 雙髻 head to return to simplicity, 芭蕉扇 to encourage good work, and ‘大肚’ to symbolize great tolerance, all in the pure state of the Tao. In order to return to ‘pure perfectness’, the image of 鍾離權 is actively embodying that ‘勸善’ and ‘tolerance’ are the most important elements in Taoist inner-dan training. Contrary to the image of Lü Tung-pin(呂洞賓), who is a handsome classical scholar, the image of shabby 張飛 in Zhongli Quan(鍾離權) is in stark contrast to each other, which has the effect of emphasizing the traditional mentor disciple relation of 鍾呂. In this way, I will promise to conduct a more in-depth follow-up study on what kind of gods are transformed into a new god in the new culture of the Korean peninsula from the great master Zhongli Quan(鍾離權) of ‘great mercy’ and ‘great embrace’ in China. What this study did not review, what shape these icons took place in literary works such as miscellaneous plays and novels during the Yuan, Ming and Qing Dynasty, what kind of relationship they formed and changed with the times, and about these Chinese <the Immortal Zhongli Quan paintings>. In a follow-up thesis, l will intensively analyze how the Joseon people recognized and painted, their aesthetic perception, the values of the times, and the spiritual world.