규장각 소장 광해군13年(1621) 〈기석설연지도〉 잔편의 복원적 고찰과 정치적 맥락의 시론적 해석

The remaining piece of Giseokseoryeonjido, originally titled Girosoyeonhoedo in Gyujanggak, depicted the moment of girohoe (耆老會, the gathering of senior high-ranking officials). In the night of early November 1621, a girohoe was organized by the supreme senior member, Sim Huisu (沈喜壽, 1548-1622), with the attendance of nine members among thirteen, i.e., Jeong Changyeon (鄭昌衍, 1552-1636), Bak Honggu (朴弘耈, 1552-1624), Jo Jeong (趙挺, 1551-1629), Lee Gwangjeong (李光庭, 1552-1629), Yu Geun (柳根, 1549-1627), Sin Sik (申湜, 1551-1623), Nam Geun (南瑾, 1556-1635) and Min Inbaek (閔仁伯, 1552-1626). Ostensibly, this girohoe was hosted due to the considerable augmentation of the dangsanggwan members in giroso (耆老所, agency for the senior high-ranking officials). It must be noted, however, that there were some changes in political climate at the very moment: the military activities of Later Jin (後金, 1616-1636) were straining the relations between two countries, while attempts at coup détat were developing in Joseon as a side effect to the anti-Ming and pro-Jin policy of Prince Gwanghae (光海君, 1575-1641, r. 1608-1623). Therefore, it is possible that this girohoe, unlike other seniors gatherings, had some unique political context and implication. On 8 November 1621, immediately after the girohoe gathering, Sim Huisu wrote a eulogy and a preface, followed by ordering a picture of girohoedo with the support of the giroso fund, to perpetuate their girohoe down to posterity. Considering both the convention of the time and the overall condition of the painting, it is highly possible that this girohoedo was painted in November 1621, right after the ceremony. The remaining piece of Giseokseoryeonjido seems quite similar to the monochrome photograph of Girosoyeonhoedo in terms of the iconography and drawing techniques. Still, some minor dissimilarities should not be neglected: differences are detected in the letters and grammars of the preface and the list of the seat orders, not to mention the iconography and techniques. These similarities and dissimilarities testify that Giseokseoryeonjido was painted first, then Girosoyeonhoedo implemented the shortcomings of the former. The research on the provenance demonstrates that Yu Geun received Girosoyeonhoedo, while Jeong Changyeon might have received Giseokseoryeonjido

Namdang Han Wonjin's Sim-ui Bok-geon (attired m formal Confucian dress) Portrait

韓元震(1682-1751)은 本貫이 淸州, 字가 德昭, 號가 南塘으로 漢陽의 於義洞 外家에서 태어났다. 그러나 8세부터 祖父를 따라 충청도의 結成(現 洪城)으로 내려가 南塘理 와 暘谷理 에 거주한 채 성리학 연구에 전념하며 당대의 지식인에게 주어진 역사적 과제를 해결하기 위한 철학적 기초를 확립하는 일에 평생을 바쳤다. 특히 독학으로 經學에 몰두하다가 21세 되던 1702년에 栗谷 李珥(1536-1584)와 沙溪 金長生(1548-1631), 尤庵 宋時烈(1607-1689)로 이어진 畿湖 性理學의 嫡傳이 바로 遂菴 權尙夏(1641-1721)에 있음을 알고는 黃 江 의 寒水齊로 찾아가 강론을 들은 뒤 정식 제자가 됨으로써 기호성리학의 嫡傳을 이은 湖學의 宗匠이 되었다.Namdang Han Wonjin is the savant of Hohak (the school of Chungcheong-do Province) which genuinely inherited Noo-Confucianism of Giho (Chungcheong-do Province), the leader of the in-law government of the late Joseon period Han emphasized Hua-Yi distinction (Sino-barbarian dichotomy) and Cheoksa (the theory of rejecting heterodoxy) in particular. His ideology spreaded throughout Hongju culture area (South Western Chungcheong-do Province), and it had a great influence on the development of the Wijung Cheoksa (defending orthodoxy and rejecting heterodoxy) movement and the emergence of the righteous armies, or Uibyeong since the late 19th century, when the imperialist pillage moved into high gear with the western powers occupying Asia and forcing to open ports. As Han's works on Neo-Confucianism affected the late Joseon period, Han's portrait is also noteworthy in that it delineates how Sim-ui Bok-geon (attired in formal Confucian dress, with a top for exalted personage and a fmmal bandana) portrait - 1he most beloved form of Yuhyeon (eminent Confuscian scholar) portraits, including those of Song Siyeol and Gwon Sangha – was inhetited and proliferated since Neo-Confucianism became indigenous in the late Joseon er