퇴계 이황 〈심학도心學圖〉의 도설 계보와 후대 전승에 관한 연구

This paper aims to examine the iconographic genealogy of YiHwang's 〈Simhakdo〉, and to examine the production trend and transmission of 〈Simhakdo〉 produced during the Joseon Dynasty after YiHwang. To this end, this paper raises two issues. First, what are the paintings and texts of JeongBoksim as the origin of YiHwang's 〈Simhakdo〉, and what are the iconographies produced before YiHwang in relation to 〈Simhakdo〉? Second, in what form was YiHwang's 〈Simhakdo〉 produced after YiHwang? According to these issues, the results of the discussion are summarized as follows. A. YiHwang's 〈Simhakdo〉 almost directly quotes JeongBoksim's paintings and texts and faithfully inherits the tradition of Neo-Confucianism. B. After the creation of the iconography by JeongBoksim, the same iconography was also included in JeongMinjeong's 《Simgyeongbuju》, and the name 〈Simhakdo〉 was used in earnest in this literature. C. The 〈Cheoninsimseonghapiljido〉 in the 《Iphakdoseol》 written by GwonGeun of Joseon differs in form from that of JeongBoksim, but it arranges the Sim心 and Gyeong敬 in an upper and lower order, and it seems to reflect the core content described by JeongBok-sim. D. ​A total of seven 〈Simhakdo〉s were created after YiHwang. In chronological order, they are 〈Simhakjongbangdo〉 by JoIk in the early 16th century, 〈Simhakdo〉 by HeoMok in the early 17th century, 〈Simhakdo〉 by ParkJangwon in the mid-17th century, 〈GanjeongImEunJeongsiSimhakdo〉 by ParkSe-chae in the late 17th century, 〈SeoncheonSimhakjido〉 by HanYeoyu in the late 17th century, 〈Simhakdo〉 by YunDaesun in the early to mid-18th century, and 〈Simhakdo〉 by SoHwimyeon in the mid-19th century. E. The seven types of 〈Simhakdo〉 produced after YiHwang are often different from the form of YiHwang's 〈Simhakdo〉, and this is thought to be because it is difficult to theoretically structure 〈Simhakdo〉 due to its characteristics of expressing the reality of self-cultivation.