朝鮮王朝 《鐵拐圖》와 기록 增補(1)

Abstract

This paper aims to assess a change in appearance and supplements of Tie kuai-Li in the Chosun Immortal paintings. Before everything else, I try to illuminate my initial findings and artistic spirit of 4 painters; A court painter Kim husin(金厚臣) was often followed in Chinese style and he didn’t have any individuality. But he was successful in depicting the warm and comfortable master Zhong li-quan, the elegant disciple Lu Tung-pin, the hideous, hairy, deformed, and scantily clad figure of Li Tie Kuai. This point goes beyond the work of Chinese <Sage> belonging to The British Museum. <the Immortal Iron Crutch –Li(鐵拐圖)> painted by Lee zaeguan(李在寬) was first reported and modified a mistake by my investigation and research. A professional painter Lee zaeguan was also followed in a Chinese painting of the Southern school and inquired into a painting in the literary artist’s style closely. A court painter Lee hanceul(李漢喆) absolutely wasn’t known for striking and bizarre images in his works, but he used his imagination to the full in <the Immortal Iron Crutch -Li(鐵拐圖)>, in spite of falling behind China and Japan’s bizarre images. By contrast upper 3 painters, a great painter Zhang seungup(張承業) was a complete failure in depicting the Immortal Iron Crutch -Li and his spirit. In conclusion, I pay attention to two painters in special; The one is that <the Immortal Iron Crutch -Li(鐵拐圖)> of Lee hanceul(李漢喆) in the 19th-century aroused much discussion, ― that is the grotesque painter Yan hui(颜辉) in the 13th-century, China and the bizarre painter Soga(曾我蕭白) in the 18th-century, Japan. Technically, his paintings upheld the Yuan dynasty’s original form in the Chosun Immortal paintings. The other is that, because of ignorance in full, Zhang seungup(張承業) belonging to the lower classes was a complete failure in depicting the Taoist eternal life and the thought of Inner-Alchemy(內丹), but we can see one aspect of society and life through the portrayal of the character in his <the Immortal Iron Crutch -Li(鐵拐圖)>, ― that is “goatishness”. After all, these 4 Chosun painters have also modified the conventional styles in order to create a refreshing and unique style by each artistic spirit.