明, 淸代시각문화를 통해 본 諸葛亮圖像의 전개와 성격 변모

Abstract

The previous studies on Zhu Ge Liang mainly focused on historical and literature researches on the man himself with no artistic researches on his icons. Investigating his icons and their development will claim some significance since it has never been conducted before. In addition, it will play a critical role in understanding the relations between literature and art and further politics and art and ideology and art. Such an effort is one of the tasks that should be fulfilled to understand the icons of Zhu Ge Liang during Chosun. Zhu Ge Liang was an eminent politician and strategist during the Three Kingdoms Period. People started to worship him right after his death and continued to do so for generations. In the beginning, his worship was not much different from worship of saints or heroes. There were only a couple of cases in which his icons were created until Northern Song Dynasty. Entering the era of Southern Song Dynasty, however, his worship grew intensively strong and creation of his icons went in full scale. Those developments were closely correlated to “Shu-Han Legitimacy” argued by Zhuxi (1130-1200). During Southern Song Dynasty, when the people were under the pressure of northern races, Zhuxi argued in his book Tongjian gangmu (通鑑綱目) that Shu was the legitimate successor of Han and thus raised a just and great cause for the people unlike those scholars of Northern Song Dynasty who saw Wei as the legitimate successor of Han. Since Zhuxi, the heritage of “Shu-Han Legitimacy” naturally led to the worship of Liu Bei (151-223), the monarch of Shu-Han, and Zhu Ge Liang, the “practical leader” of Shu-han. The icons of Zhu Ge Liang were also closely related to those ideologies of the times. Zhu Ge Liang received much admiration while he was still alive and continuous worship after his death. His worship became full-blown after Zhuxi proposed “Shu-Han Legitimacy” during Southern Song Dynasty. It was difficult to come across the icons of Zhu Ge Liang before Southern Song Dynasty. After Zhuxi’s “Shu-Han Legitimacy,” however, they increased in numbers. His icons remained in small numbers until Ming Dynasty. The r ecords show that his characteristic icons were not established yet. During Ming Dynasty, his icons were mainly created at the royal court to serve Confucian or political purposes with a focus on his sides as a “loyal servant.” The painting practice at the royal court went down the spiral after middle Ming Dynasty as the eunuchs gained the power. Thus the creation of his icons ended at the royal court and moved to literary painters, who renewed their perceptions of his icons and translated them into their paintings. It was at that time that the biggest characteristic of his icons called Yu Shan (羽扇), Lun Jin (輪巾) was established. During Qing Dynasty, the Han Dynasty was replaced by the Manchurian one, which accordingly changed the nature of his icons. When the previous dynasty was replaced by the next one in early Qing Dynasty, his icons became the means for the migrants to project their awareness or self-consciousness into. The Qing Dynasty set up by the Manchurians no longer worshiped Zhu Ge Liang, a Han hero, and created his icons. The creation of his icons continued among common people.