윤두서(尹斗緖)의 <정재처사심공진(定齋處士沈公眞)> 연구-한 남인 지식인의 초상 제작과 우도론(友道論)

Abstract

Yun Duseo (尹斗緖, 1668-1715), one of the most representative literati painter in late Chosǒn. (1700-1910), left two portraits; one of those is self-portrait (自畵像), and the other is Jeongjaecheosasimgongjin (定齋處 士沈公眞), which is the portrait of Sim Deukgyeong (沈得經, 1673-1710) who said to be a friend who shared the friendship like gold and stone with Yun Duseo. This essay explores the way in which literati painters create images that are deeply concerned with self-awareness and expression of interiority through a close examination of the portrait of Sim Deukgyeong. Portraiture was the specialized genre treated by professional painters who were members of secondary class in Chosǒn society. Therefore, literati painters from the ruling class hardly painted portrait. How did he come to make his friend’s images? What made Yun Duseo to paint his friend’s portrait by himself? What was the painter’s intention that was alluded through the friend’s portrait? This portrait was painted 4 months after friend’s death. Therefore, Yun Duseo could not contact his model while drawing the portrait, and he should have painted Sim Deukgyeong’s portrait relying only on his memory. He might have had some difficulty to represent his friend’s appearance, and then he used visual, metaphoric elements to reveal his sprit and intelligence beyond appearance. Yun Duseo shows Sim Deukgyeong wearing Dongpagwan (東坡冠), an icon symbolizing So Sik (蘇軾, 1037-1101) who was the most eminent scholar in Northern Song (北宋, 960-1126), and a plain jade green robe (野服) revealing his social status of non-degree holder. In addition, Sim Deukgyeong was defined as Cheosa (處士), in the monumental title on the portrait, which means a recluse denying social success by himself. These pictorial devices are intended not only to evoke Sim Deukgyeong’s sprit and intelligence such as So Sik’s, but also to show his pure and lofty mind like a recluse. The most important factor in interpretations of literati painter ‘s work based on high symbolism is painter’s life. Yun Duseo was a heir of the renowned family in Namin (南人) faction. In early eighteenth century, Namin was deprived of its political power. Young scholars in Namin faction were alienated from accessing their political success. Young scholars including Yun Duseo forced to be a Cheosa, the life of a recluse. Yun Duseo devoted the rest of his life to painting, literature and studying with his friends enduring same frustration and dislocation. The group of Yun Duseo received a instruction in On Friendship (交 友論) written in 1595 by Matteo Ricci(1552-1610), a Jesuit missionary, which taught‘a true friend is the second self, and my half.’They developed their own idea based on the concept of friendship borrowed from Ricci’s idea. They thought true friend is more than their kin and their friend is none other than themselves. These kind of emotions were characteristic of these marginalized literati. Sim Deukgyeong had no official title, no academic career, and no anthology written by himself. Yi Seo (1662-1723), the writter of laudatory inscription on the painting and also one of Yun Duseo‘s friends, lamented that‘if there were none of your portrait, how could we remember your life?’Without his portrait, as Yi Seo’s inscription says, he would have vanished away into history. The group of Yun Duseo would have regarded to remember the life of their friend through the portrait as their own responsibility The portrait of Sim Deukgyeong was based on earnest friendship. The life of Sim Deukgyeong as politically marginalized literati was shared with his friend Yun Duseo. Yun Duseo who should live as a recluse pursuing art and literature, not realizing his social ideal is similar to Sim Deukgyeong. Thus, we can say that the pure and lofty scholar revealed in the portrait could be a means of expressing the inner self of Yun Duseo, as well as the image of Sim Deukgyeong. Moveover, the portrait of Sim Deukgyeong could also be an important clue to interpret Yun Duseo’s self-portrait, which is one of the most problematic self-image of Chonsǒn dynasty. Therefore, the portrait of Sim Deukgyeong is a record of verifying frustrated and alienated Namin literati and their friendship in early eighteenth century Chosǒn.