세조 어진의 두 봉안처: 영창전과 봉선전의 성격과 제향의 의미 (Two Places of Worship Enshrining Portraits of King Sejo: The Function of the Spirit Hall and Portrait Hall of King Sejo and the Meaning of Rites in the Halls)

서지정보

· 발행기관 : 서울대학교 규장각한국학연구원
· 수록지 정보 : 한국문화 / 93호 / 277 ~ 304페이지
· 저자명 : 손명희

초록

Portrait paintings of King Sejo (r. 1455-1468) were enshrined in the spirit hall, Yeongchangjeon (永昌殿) and the portrait hall, Sungeunjeon(崇恩殿) for the king on the third day of the ninth month of 1469. Even during the early Joseon period, it was rare to enshrine royal portraits in either spirit halls or “outside portrait halls (外方眞殿)” in the provinces, because the use of portraits for worship was rooted in Buddhist tradition, not Confucianism, the ruling ideology of the Joseon Dynasty. It was Queen Dowager Jeonghui (1418-1483), consort of King Sejo who had portraits installed in the two halls. Right after the death of King Sejo, Queen Dowager Jeonghui had a great influence on affairs of state during the reign of King Yejong, her son and governed the state as the regent during the early reign of King Seongjong, her grandson. The queen dowager led the enshrinement of portraits of King Sejo in the two places of worship, which was the pro-Buddhist action, for herself as well as her late husband, Sejo, both of whom worshipped Buddha.
A spirit hall was a ritual place showing the transitional stage in royal funeral rites. A spirit tablet of the dead, the proper object of worship in Confucianism, was installed but served as if he/she were alive in the same way as the corpse in a mortuary hall. Queen Dowager Jeonghui had a portrait of King Sejo enshrined in the spirit hall of the king around the first anniversary of his death. This action reflects the royal ancestor worship of the Goryeo Dynasty combining Buddhist and Confucian traditions. The queen dowager was the first person who performed the tea ritual, darye(茶禮) in a spirit hall during the Joseon Dynasty. Her performance established a precedent for the king and royal women to perform tea rituals in a spirit hall.
Queen Dowager Jeonghui also ordered the portrait hall of King Sejo to be built in the Buddhist temple titled Bongseonsa(奉先寺), which was constructed to support and guard the tomb of King Sejo. After enshrining the portrait of King Sejo in the portrait hall at the same time as in the spirit hall, King Yejong and the queen dowager respectively visited the hall and made offerings to the portrait in person. The management and rites of the portrait hall of King Sejo were constituted as being at the same level as those of the King Taejo portrait halls in the Five Rites of the State(國朝五禮儀), the first official handbook of the state rites of Joseon published in 1474. These actions led by the queen dowager gave the late King Sejo the same authority and transcendent status as the dynastic founding father, King Taejo.
After the abolishment of the spirit hall of King Sejo, Queen Dowager Jeonghui and other royal consorts as well as the king personally visited the portrait hall of King Sejo and performed tea rituals therein. Even though tea rituals for the hall were not specified in the Five Rites of the State, succeeding kings continued to perform tea rituals in the portrait hall until the reign of King Jungjong. The performance of tea rituals made the King Sejo portrait hall carry on the function of the King Sejo spirit hall, and thus royal female members as well as kings could serve the late king as if he were alive in the portrait hall.
Because of the Japanese Invasions, the portrait hall of King Sejo was destroyed. However, the tradition of the King Sejo portrait hall rites exerted an influence on portrait halls established during the late Joseon period. Tea was offered and meat was exclued in the offering food for the rites of Yeonghuijeon(永禧殿), the official portrait hall of the late Joseon period, whereas tea rituals were regularly performed in Seonwonjeon(璿源殿) of the late Joseon period, the informal portrait hall in the palace, by royal female members as well as kings.

영어초록

Portrait paintings of King Sejo (r. 1455-1468) were enshrined in the spirit hall, Yeongchangjeon (永昌殿) and the portrait hall, Sungeunjeon(崇恩殿) for the king on the third day of the ninth month of 1469. Even during the early Joseon period, it was rare to enshrine royal portraits in either spirit halls or “outside portrait halls (外方眞殿)” in the provinces, because the use of portraits for worship was rooted in Buddhist tradition, not Confucianism, the ruling ideology of the Joseon Dynasty. It was Queen Dowager Jeonghui (1418-1483), consort of King Sejo who had portraits installed in the two halls. Right after the death of King Sejo, Queen Dowager Jeonghui had a great influence on affairs of state during the reign of King Yejong, her son and governed the state as the regent during the early reign of King Seongjong, her grandson. The queen dowager led the enshrinement of portraits of King Sejo in the two places of worship, which was the pro-Buddhist action, for herself as well as her late husband, Sejo, both of whom worshipped Buddha.
A spirit hall was a ritual place showing the transitional stage in royal funeral rites. A spirit tablet of the dead, the proper object of worship in Confucianism, was installed but served as if he/she were alive in the same way as the corpse in a mortuary hall. Queen Dowager Jeonghui had a portrait of King Sejo enshrined in the spirit hall of the king around the first anniversary of his death. This action reflects the royal ancestor worship of the Goryeo Dynasty combining Buddhist and Confucian traditions. The queen dowager was the first person who performed the tea ritual, darye(茶禮) in a spirit hall during the Joseon Dynasty. Her performance established a precedent for the king and royal women to perform tea rituals in a spirit hall.
Queen Dowager Jeonghui also ordered the portrait hall of King Sejo to be built in the Buddhist temple titled Bongseonsa(奉先寺), which was constructed to support and guard the tomb of King Sejo. After enshrining the portrait of King Sejo in the portrait hall at the same time as in the spirit hall, King Yejong and the queen dowager respectively visited the hall and made offerings to the portrait in person. The management and rites of the portrait hall of King Sejo were constituted as being at the same level as those of the King Taejo portrait halls in the Five Rites of the State(國朝五禮儀), the first official handbook of the state rites of Joseon published in 1474. These actions led by the queen dowager gave the late King Sejo the same authority and transcendent status as the dynastic founding father, King Taejo.
After the abolishment of the spirit hall of King Sejo, Queen Dowager Jeonghui and other royal consorts as well as the king personally visited the portrait hall of King Sejo and performed tea rituals therein. Even though tea rituals for the hall were not specified in the Five Rites of the State, succeeding kings continued to perform tea rituals in the portrait hall until the reign of King Jungjong. The performance of tea rituals made the King Sejo portrait hall carry on the function of the King Sejo spirit hall, and thus royal female members as well as kings could serve the late king as if he were alive in the portrait hall.
Because of the Japanese Invasions, the portrait hall of King Sejo was destroyed. However, the tradition of the King Sejo portrait hall rites exerted an influence on portrait halls established during the late Joseon period. Tea was offered and meat was exclued in the offering food for the rites of Yeonghuijeon(永禧殿), the official portrait hall of the late Joseon period, whereas tea rituals were regularly performed in Seonwonjeon(璿源殿) of the late Joseon period, the informal portrait hall in the palace, by royal female members as well as kings.

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