≪공자성적도≫의 제작 방향과 시각 표현 연구

Abstract

≪The Painting of the Sacred Footprints of Confucius≫(孔子聖蹟圖), mainly produced by Confucius(孔子) descendants and cultural elite to honor Ruism(儒家), was distributed quite well in response to the social demands of Ming-Qing dynasty. The character of the image is naturally different from the other person’s “narrative illustration”(故事畵) it is a “saint” called “Confucius” and must reflect a cultural great man. This paper was created in an attempt to grasp the basic character of the shapes, characters and meanings contained in ≪The Painting of the Sacred Footprints of Confucius≫ from the two aspects of production direction and visual expression. The figure of carrier-centered Confucius formed in the early Zhengtong version(正統本) is covered with sanctification in the Hongzhi version(弘治本). A socially sympathetic image is complete, and the 100-wide Wanli version(萬曆本) has more images, highlighting morality. This Confucius image was established, and these two versions were repeated and produced. In making Confucius a revelation, emphasis was placed on ritualism to match the saints, and emphasis was placed on recordability by strengthening the character elements. Also, the space perceived in the figure was given unaltered invariant authority and phase by relatively simple processing. Elements such as a stable composition developed by traditional figures, square arrangement, solemn atmosphere, etc. showed a suitable effect here. And although some people’s postures look slow and dull, and the composition looks rigid and simple, the image shows the authority of the saints, Confucius, and can be used to express “Mild, Gentle, Sincere, and Broadminded”(溫柔敦厚) that is emphasized by Ruism.