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초록· 키워드
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Korean Envoys’ Procession to Edo Castle, a theme that will be dealt in this article occupies the great portion of paintings of Korean Envoys’ Procession. This subject was painted by both Japanese official painters according to the order of the shogunate bafuku and popular ukiyo-e painters. In the discussion, its periodical stylistic changes throughout the seventeenth and eighteenth centuries, and the relationship between the choice of pictorial languages and the purpose of production would be examined.
A significant number of seventeenth and eighteenth-century paintings that portray this particular subject survived today in the form of folding screen, handscroll, and ukiyoe painting and print. As a subject matter, Korean Envoys’ Procession to Edo Castle illustrates a ceremonial parade of Korean envoys who carried the royal letter of the Korean King to Edo castle where the Japanese shogun resided.
In the early seventeenth century, Korean Envoys’ Procession to Edo Castle was initially painted by Japanese official painters on the commission of shogun. Korean envoys’ procession to Edo Castle is depicted in the Edozu byobu, in the collection of the National Folk History Museum in Chiba prefecture. The scene depicted in this folding screen emphasizes luxurious gifts bestowed by the Korean king to the Japanese shogun in order to exhibit the political power of the shogunate bafuku.
A folding screen in the collection of Sennyuji temple at Kyoto, titled Reception of Korean Envoys of 1655 focuses on the moment of Korean envoys entering Edo Castle and delivering the royal letter of the Korean king to the Japanese shogun. Interestingly, Korean envoys were portrayed like Portuguese of Nanban byobu. Probably, it was because the foreign elements of Korean envoys and ceremonial objects were unfamiliar to the eyes of Japanese painters. Moreover, the sequence of the parade and ceremonial objects were not correctly illustrated. It seems that early seventeenth-century Japanese official painters combined reality with fantasy in visualizing the awe-inspiring procession of foreign envoys.
Beginning in 1682, ukiyo-e painters began to notice Korean Envoys’ Procession to Edo Castle as their new artistic subject. Their pictorial interests were more concerned about Korean participants of the parade rather than Japanese spectators. In this period, some new pictorial expressions were employed. First of all, the direction of the procession were proceeded from left to right. Secondly, the name-bearing cartouche was added next to the figures of important participants. Also, the number of participants of the parade was considerably abbreviated, but every ceremonial stage of the parade were accurately illustrated. For example, the ambassador, the Korean king’s representative to the shogun, riding in a roofed and open-sided palaquin occupies the center of the field of vision, preceded by pennant-bearers, a drummer, and a giant flag displaying a firebreathing dragon. Also, it is worth noticing that the portrayal of Korean envoys was not portrayed any more in the southern barbarian style(南蠻風), but instead were depicted more like those of Chinese.
In 1711, Korean Envoys’ Procession to Edo Castle was executed on the order of the shogun. Tawara Kizaemon and other forty painters who participated in this commission, produced a total of fourteen pieces. Among those fourteen pieces, the one now in the collection of the National History Compilation Committee in Korea, explicitly shows that those painters closely observed this magnificent parade and sketched it in a highly realistic manner. Not only the sequence of the procession and ceremonial objects were correctly described, but also the cartouche that bears the names of various official posts was accurately recorded. Indeed, this work may be considered to be a well-executed documentary painting as well as a genre painting that vividly depicts diverse facial expressions of more than two thousand individuals.
From 1682 to the eighteenth century, Korean Envoys’ Procession to Edo Castle became increasingly reproduced by ukiyo-e painters in the form of wood-block print and was sold to a larger population. The production of ukiyo-e painters aimed to serve as a illustrative pamphlet that provides spectators with basic information about this spectacular foreign parade and its participants. Unlike the highly realistic 1711’s work of Japanese official painters, those reproduced in the form of wood-block print portray the parade in either the southern barbarian or Chinese styles.
A significant number of seventeenth and eighteenth-century paintings that portray this particular subject survived today in the form of folding screen, handscroll, and ukiyoe painting and print. As a subject matter, Korean Envoys’ Procession to Edo Castle illustrates a ceremonial parade of Korean envoys who carried the royal letter of the Korean King to Edo castle where the Japanese shogun resided.
In the early seventeenth century, Korean Envoys’ Procession to Edo Castle was initially painted by Japanese official painters on the commission of shogun. Korean envoys’ procession to Edo Castle is depicted in the Edozu byobu, in the collection of the National Folk History Museum in Chiba prefecture. The scene depicted in this folding screen emphasizes luxurious gifts bestowed by the Korean king to the Japanese shogun in order to exhibit the political power of the shogunate bafuku.
A folding screen in the collection of Sennyuji temple at Kyoto, titled Reception of Korean Envoys of 1655 focuses on the moment of Korean envoys entering Edo Castle and delivering the royal letter of the Korean king to the Japanese shogun. Interestingly, Korean envoys were portrayed like Portuguese of Nanban byobu. Probably, it was because the foreign elements of Korean envoys and ceremonial objects were unfamiliar to the eyes of Japanese painters. Moreover, the sequence of the parade and ceremonial objects were not correctly illustrated. It seems that early seventeenth-century Japanese official painters combined reality with fantasy in visualizing the awe-inspiring procession of foreign envoys.
Beginning in 1682, ukiyo-e painters began to notice Korean Envoys’ Procession to Edo Castle as their new artistic subject. Their pictorial interests were more concerned about Korean participants of the parade rather than Japanese spectators. In this period, some new pictorial expressions were employed. First of all, the direction of the procession were proceeded from left to right. Secondly, the name-bearing cartouche was added next to the figures of important participants. Also, the number of participants of the parade was considerably abbreviated, but every ceremonial stage of the parade were accurately illustrated. For example, the ambassador, the Korean king’s representative to the shogun, riding in a roofed and open-sided palaquin occupies the center of the field of vision, preceded by pennant-bearers, a drummer, and a giant flag displaying a firebreathing dragon. Also, it is worth noticing that the portrayal of Korean envoys was not portrayed any more in the southern barbarian style(南蠻風), but instead were depicted more like those of Chinese.
In 1711, Korean Envoys’ Procession to Edo Castle was executed on the order of the shogun. Tawara Kizaemon and other forty painters who participated in this commission, produced a total of fourteen pieces. Among those fourteen pieces, the one now in the collection of the National History Compilation Committee in Korea, explicitly shows that those painters closely observed this magnificent parade and sketched it in a highly realistic manner. Not only the sequence of the procession and ceremonial objects were correctly described, but also the cartouche that bears the names of various official posts was accurately recorded. Indeed, this work may be considered to be a well-executed documentary painting as well as a genre painting that vividly depicts diverse facial expressions of more than two thousand individuals.
From 1682 to the eighteenth century, Korean Envoys’ Procession to Edo Castle became increasingly reproduced by ukiyo-e painters in the form of wood-block print and was sold to a larger population. The production of ukiyo-e painters aimed to serve as a illustrative pamphlet that provides spectators with basic information about this spectacular foreign parade and its participants. Unlike the highly realistic 1711’s work of Japanese official painters, those reproduced in the form of wood-block print portray the parade in either the southern barbarian or Chinese styles.
목차
Ⅰ. 머리말
Ⅱ. 江戶城 登城 時의 傳命禮
Ⅲ. 17세기 通信使登城行列圖
Ⅳ. 18세기 通信使登城行列圖
Ⅴ. 맺음말
참고문헌
〈Abstract〉
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