近代 孔夫子聖蹟圖 연구:車圭範 간행 -『孔夫子聖蹟圖』를 중심으로-

Abstract

The Holy Traces of Confucius(孔夫子聖蹟圖) was first made by Wang Zhenpeng(王振鵬) of Yuan Dynasty in 14th century and several types of woodblock-printed books had been printed through Ming and Qing Dynasty in China. Chinese Holy Traces of Confucius(孔夫子聖蹟圖) was first introduced into Joseon Dynasty in 1539 and it was published continuously until the early 20th century. Cha KyuBeom(車圭範) printed the Holy Traces of Confucius(孔夫子聖蹟圖) on his own in 1924 using Kong Jaeheon(孔在憲)’s version which was produced in 1905. Cha KyuBeom(車圭範)’s version is the most printed woodblock-printed book that is easily found in National Library of Korea as well as in each university library. It is consisted of 105 piece of pictures and it’s almost the same as Kong Jaeheon(孔在憲)’s version in terms of table of contents along with compositions of titles(題) and explanations(讚). Kong Jaeheon(孔在憲)’s version is long in width and printed in both sides while Cha KyuBeom(車圭範)’s is long in length and each picture is printed in one side so easy to carry on. Kong Jaeheon(孔在憲)’s version is so conventional woodblock-printed book that is need to be unfold both sides to understand picture while Cha KyuBeom(車圭範)’s version is one picture in single page. This indicates there are great differences between Kong Jaeheon(孔在憲)’s version and Cha KyuBeom(車圭範)’s version as for production objective and purpose. Kong Jaeheon(孔在憲) made the woodblock-printed book stand out artistically to adore Confucius(孔子) who found Confucianism. But Cha KyuBeom(車圭範)’ production intention was to let the public know Confucius(孔子) accurately although its artistic value might be debased. Kong Jaeheon(孔在憲) intended to win over readers of Confucian scholars and the educated in society while Cha KyuBeom(車圭範) made it as training materials for those who have no knowledge of or someone just starting to learn Confucianism. Cha KyuBeom(車圭範)’s version was made reflecting on the popularization of Confucianism to restore Korean national spirit in Japanese colonial era of early 20th century when foreign religions like Christianity come in like a tide. Cha KyuBeom(車圭範)’s version was inspired by Ahn GyoHwan(安敎煥) who painted True Portraits of the Holy Traces(聖蹟眞像圖) in 1937. Ahn GyoHwan(安敎煥) adds notices in Hangeul, Korean alphabet aside with Chinese character for those illiterate hoping to learn Confucius and Confucian thought. It seems like Cha KyuBeom(車圭範)’s version was produced without financial supports from either Royal family of Choseon Dynasty or men of wealth since the quality of picutres are shoddy and no artistic value can be found. But it is found that Cha KyuBeom(車圭範)’s version started from Kong Jaeheon(孔在憲)’s but he improves the production a lot by supplementing titles, explanations and pictures which were omitted from Kong Jaeheon(孔在憲)’s version refering to chinese woodblock-printed book at the time. The fact implies that Cha KyuBeom(車圭範) made his best efforts to tell Confucius’s life to the public accurately. It’s doubtful whether Cha KyuBeom(車圭範)’s version which has no artistic value, only made with single color would educate readers in the 1920’s and 1930’s when colorful magazines and fancy media prevailed. The results comes from the lack of understanding that image effects always overwhelm in the popularizing process. Since all the Holy Traces of Confucius(孔夫子聖蹟圖) produced in Choseon Dynasty received supports from either royal families or the authorities, renowned painter participated in the production therefore high-quality pictures could be born. But Cha KyuBeom(車圭範)’s version was made only with the help of each and every Confucian scholars, you can’t expect shiny pictures and books. In a sense, the Holy Traces of Confucius(孔夫子聖蹟圖) made by Cha KyuBeom(車圭範) indicates the financial conditions of Confucian scholars and the status of Confucianism at the moment when it was produced.