국보 〈송시열 초상〉의 제작 시기와 맥락

Abstract

This essay identifies Portrait of Song Siyeol (henceforth referred to as National Treasure No. 239) as an early nineteenth-century painting. Previous studies regarding this portrait diverge greatly on the issue of its creation date. Some identified National Treasure No. 239 as a mid-seventeenth-century portrait, on the basis of Song’s inscription, hwasang jagyeong (self-admonishing portrait inscription). Others considered the work to be produced in the late eighteenth century due to King Jeongjo’s (r. 1776–1800) inscription. Observing the painting’s archaistic and flat drawing, the others assumed it was drawn between the late seventeenth century and the early eighteenth century. However, it is difficult to identify the date of National Treasure No. 239 via a general analysis of text or style due to its characteristics: Song’s and King Jeongjo’s inscriptions are deceptively used later to idealize Song; the sitter’s appearance and attire are also deliberately depicted in archaistic and flat styles to idealize Song, contrary to the realistic representation appearing in Song’s earliest portraits. Considering such characteristics found in National Treasure No. 239, this essay sets the notion of “idealization,” the most fundamental character of the painting that is essential for evaluating the creation date. By conducting a stylistic analysis of the idealization process among copies that resemble National Treasure No. 239 in countenance and iconography, this essay concludes that National Treasure No. 239 was produced in the early nineteenth century. The copies of Song’s portrait in the late Joseon period fall into three steps of idealization. In the first step, from the late seventeenth century to the early eighteenth century, Song’s portraits tend to maintain the early versions’ realistic representation, albeit with some embellishment added by court painters. In the second step, or during the mid-to-late eighteenth century, however, a new trend appeared. Song was further idealized by synthesizing the great pictorial elements of various versions of Song’s portraits and depicting the sitter as a nobleman according to physiognomy. In the early nineteenth century, the idealization of Song advanced to the third step, reaching its peak as marked by National Treasure No. 239: brows thinly and gently crooked like a crescent or willow leaves, and ears drooping twice as long to resemble those of the Buddha. This essay also offers other pieces of evidence to support that National Treasure No. 239 was produced in the early nineteenth century. Firstly, King Jeongjo’s inscription written in clerical script was transcribed in the early nineteenth century. Secondly, copies of Song’s portrait that accord with the countenance and iconography of National Treasure No. 239 began to appear after the mid-to-late nineteenth century. Lastly, enthusiasm toward venerating Song was at its zenith in the late eighteenth century and continued until the early nineteenth century. These all strongly support this essay’s argument that National Treasure No. 239 is an early nineteenth-century painting.