〈강세황 71세 초상〉: 강세황(姜世晃), 이명기(李命基),정조(正祖)가 합작한 초상

Abstract

The self-portrait of 1782 depicts Kang Sehwang (1713–1790) at the age of 70, dressed in an official black hat and a plain robe, a rather unconventional clothing combination, signifying both Kang’s entrance into government office late in life and the long years he passed in reclusion. When Kang joined the giroso (Office of the Elders) in 1783, King Jeongjo (r. 1776–1800) ordered the leading portraitist of the period Yi Myeonggi (1756–after 1802) to paint Kang’s formal portrait in full official attire. Kang considered this portrait to be the ultimate expression of his painted likeness; here, his lifelong aspiration to have a proper self-image was fulfilled. This portrait came to be regarded as a symbol of the political reinstatement of Kang and his family and was handed down to posterity as such. The most intriguing feature in Portrait of Kang Sehwang at Age 71 is the right hand that Kang leaves exposed. With little exception, in literati portraiture, hands were hidden from view. Yi Myeonggi, however, painted several portraits of literati in which sitters expose their hands and paid special attention to naturalistic depictions of various hand gestures, using new techniques of shading. It seems that Yi recognized the accurate depiction of hands as a defining feature of the new technique of portrait painting. Yi’s stylistic and technical experiments reflect his preeminent status and confident command as a portraitist. In several cases, Yi even signed the portraits he painted, which was very rare for a court portraitist. The number of portraits that were signed by their maker increased over the eighteenth century. Many of these signed works exhibit unconventional stylistic traits. The trend toward individuality and experimentation which Yi Myeonggi exemplifies is an important development in eighteenth-century portraiture. Another important feature of Portrait of Kang Sehwang at Age 71 is the eulogistic inscription in the upper right by King Jeongjo. King Jeongjo often commissioned portraits of his high officials from Yi Myeonggi and composed eulogies for the sitters. Many portraits of literati of the time were closely related to King Jeongjo’s tangpyeong policy (policy of impartiality) which was intended to ensure that the appointment of officials was not influenced by factional affiliations. The king equally supported the leading Noron (Old Doctrine) faction, consisting of orthodox followers of Zhu Xi (1130–1200), and the politically marginalized Soron (Young Doctrine) and Namin (Southerners) factions. To further the aims of this policy, King Jeongjo also actively engaged in the reproduction and appreciation of the likenesses of historical literati. When King Jeongjo ordered Yi Myeonggi to copy a portrait of Heo Mok (1595–1682), it was to appease the Namin faction and thereby served to stabilize the political situation. In turn, King Jeongjo composed a respectful eulogy for a portrait of Heo’s political enemy, Song Siyeol (1607–1689), a paramount leader of the Noron faction. The fact that members of the Noron and followers of Song mostly wore Zhu Xi’s deep robe (simui) in their portraits—in contrast to the court officials who were portrayed in their official attire shows symbolically the political checks and balances that the king sought to preserve. In the same vein, Portrait of Kang Sehwang at Age 71 was at the heart of King Jeongjo’s tangpyeong policy.