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| Portrait of Ch’ae Che-Gong, Prime Minister of Korea under King Ch’ongjo (1720-1799). Probably by Yi Myong-Gi (1760-1820). Korea, 1789 Photograph (of painting only). Original ink and pigment on silk scroll. 86.5 x 59.5 cm (painting) © Trustees of the British Museum 1996, 0329, 0.1 Photographer John Williams |
Portrait of a Confucian Scholar (probably Kang Yi-o (b.1788). Possibly by Yi Chae-gwan (1753-circa 1839). Korea, 18th century Photograph (of painting only). Original ink and pigment on paper. 54.4 x 45 cm (including mount) © Trustees of the British Museum 1922, 0630, 0.11 |
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According to the inscription, the painting of Ch’ae Che-Gong (LEFT) was done when the subject was aged 73. Like that of the Confucian scholar (RIGHT), it was probably painted in recognition of the subject’s public service, a practice that expanded in the later Choson dynasty (1392-1910) when the meritorious were awarded their portraits at ceremonial presentations. It was not just the recipient who was thus honoured but, in line with Confucian values, his family and lineage which then took responsibility for its preservation as an heirloom. The portraits themselves were formalised, full or half-length and confrontal or turned slightly to the viewer’s left, and sometimes (as in Ch’ae Che-Gong’s portrait, LEFT) shown from slightly above. Roles were denoted by costume or inscription.
In this system of recognition and reward, individuals and their kin were treated together, and although faces were individualised, the subject’s role remained the primary point of reference. |
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