朝鮮時代 《呂洞賓圖》연구(1)

Abstract

This paper aims to assess changes in appearance of Lü Tung-pin in the Chosun immortal paintings. I will compare minutely original differences between the sword of Lü Tung-pin(呂洞賓) and zhenwu(眞武). Before everything else, I try to illuminate my initial findings and artistic spirit of 4 painters; A literary painter li In-sang(李麟祥) successfully depicted “the inner spirit and soul of classical scholar” through the Immortal Lü, and gave enough expression to his thought. This is li In-sang at his best. Lü’s deep gaze and a high-spirited man through <the Immortal Lü>, made us absolutely overwhelmed over the century, that is to say, the supreme achievements of li In-sang’s artistic soul. An enduring masterpiece far surpass China and Japan in the immortal paintings. A court painter Kim Hong-do(金弘道) belonging to the middle class was a struggle for the upper classes and a person who compromised with reality. Much to our regret, a great painter Kim Hong-do was a little failure in depicting the immortal Lü Tung-pin, his spirit, the taoist eternal life and the thought of Inner-Alchemy(內丹). A court painter li In-mun(李寅文) was often followed in Chinese style and he didn’t have any individuality. His paintings upheld the Chinese original form in the Chosun Immortal paintings. On the other hand, <the Immortal Lü> of unknown authorship was first reported and rediscovered the values of the striking expression by my investigation and research. This is a absolutely controversial work which protests the breaking-up and complete destruction on Lü’s typical image. We can say that an anonymous painting of Lü had a rebirth in creativity overmastering China and Japan.