1746년의 그림: ‘시대의 눈’으로 바라 본 <장주묘암도>와 규장각소장『관동십경도첩』
Reading the paintings of 1746
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This essay explores the political dimensions of The Mao Hut of Zhangzhou (Jangjumyoam-do) and Ten views of Guandong (Guandongsipgyeong- do), both dated 1746. The Mao Hut of Zhangzhou was commissioned by the king Yeongjo (r. 1724-1776) and the Noron (Old Discourse) faction that was the ruling political party at court during the time. The Mao Hut of Zhangzhou, illustrating a story of Zhu Xi (1130-1200) when he was the magistrate of Zhangzhou, had strong political messages for members of the Noron faction. Zhu Xi built a pavilion in Zhangzhou according to Neo- Confucian doctrines, in which the Neo-Confucian microcosmic world was embodied. Zhu Xi was deeply admired by the Noron members and became the most venerated cultural figure for them. Thus The Miao Hut of Zhangzhou was not simply a pictorial illustration of Zhu Xi’s story. It signified the historical and cultural importance of Zhu Xi’s life and the power of Neo-Confucian ideology for the Noron members. The Noron faction used the painting as a means of strengthening their political solidarity and of propagandizing their political ideals and interests at a time when their power began to be challenged by the opposing political faction. Ten views of Guandong, painted in the same year, is of great significance in highlighting how members of the Soron (Young Discourse) faction, the political rival to the Noron, commissioned a politically motivated painting and used it as a means of representing their political ambitions. Ten views of Guandong was commissioned by a member of the Soron fac-tion and circulated widely within his political allies. This painting was celebrated by many members of the faction and came to be viewed as a visual representation of their political visions. In the painting, the shining and radiant sun is distinctively emphasized. In the eyes and minds of the Soron members, the sun was regarded as a symbol of hope suggesting that their political future would be all-shining and bright. The viewers’ writings are filled with clues for their political outlooks, envisioning the day when they will take control of the court.
Abstract
This essay explores the political dimensions of The Mao Hut of Zhangzhou (Jangjumyoam-do) and Ten views of Guandong (Guandongsipgyeong- do), both dated 1746. The Mao Hut of Zhangzhou was commissioned by the king Yeongjo (r. 1724-1776) and the Noron (Old Discourse) faction that was the ruling political party at court during the time. The Mao Hut of Zhangzhou, illustrating a story of Zhu Xi (1130-1200) when he was the magistrate of Zhangzhou, had strong political messages for members of the Noron faction. Zhu Xi built a pavilion in Zhangzhou according to Neo- Confucian doctrines, in which the Neo-Confucian microcosmic world was embodied. Zhu Xi was deeply admired by the Noron members and became the most venerated cultural figure for them. Thus The Miao Hut of Zhangzhou was not simply a pictorial illustration of Zhu Xi’s story. It signified the historical and cultural importance of Zhu Xi’s life and the power of Neo-Confucian ideology for the Noron members. The Noron faction used the painting as a means of strengthening their political solidarity and of propagandizing their political ideals and interests at a time when their power began to be challenged by the opposing political faction. Ten views of Guandong, painted in the same year, is of great significance in highlighting how members of the Soron (Young Discourse) faction, the political rival to the Noron, commissioned a politically motivated painting and used it as a means of representing their political ambitions. Ten views of Guandong was commissioned by a member of the Soron fac-tion and circulated widely within his political allies. This painting was celebrated by many members of the faction and came to be viewed as a visual representation of their political visions. In the painting, the shining and radiant sun is distinctively emphasized. In the eyes and minds of the Soron members, the sun was regarded as a symbol of hope suggesting that their political future would be all-shining and bright. The viewers’ writings are filled with clues for their political outlooks, envisioning the day when they will take control of the court.
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