<文孝世子輔養廳契屛>-1784년 문효세자와 보양관의 상견례 행사 (The 1784 screen painting “Crown Prince Munhyo having sanggyeonnye with Boyanggwan at Boyangcheong”(文孝世子輔養廳契屛))

서지정보

· 발행기관 : 국립중앙박물관
· 수록지 정보 : 미술자료 / 80호 / 97 ~ 114페이지
· 저자명 : 민길홍

초록

During the Joseon Dynasty(1392-1910), Boyangcheong, an education bureau with tutors, was established to oversee the instruction of Crown Prince. As heirs to the throne, Crown Prince began his schooling at a young age. Boyanggwan(輔養官) who saw to the education and rearing of Crown Prince was selected and the Boyangcheong Bureau(輔養廳) was founded to manage the tutors. When a tutor was selected, a sanggyeonnye(相見禮) was held. Sanggyeonnye was an introduction ceremony, in this case introducing the Boyanggwan(teacher) to the Crown Prince and was the most important ceremony that the Boyangcheong supervised.
The 1784 screen painting “Crown Prince Munhyo having sanggyeonnye with Boyanggwan at Boyangcheong”(文孝世子輔養廳契屛) illustrates the introduction ceremony of Crown Prince Munhyo(1782-1786), the first son of King Jeongjo(r. 1776-1800), to his Boyanggwan on the first month of 1784. The screen painting was made as a painting of a royal ceremony for the participating officials in commemoration of the event. The sanggyeonnye for Crown Prince Munhyo’s first encounter with his two Boyanggwan was held at Daeeunwon(戴恩院) at Changdeokgung Palace(昌德宮). Along with the painting, the screen contains important archival information with a preface that describes the events and a list of officials who attended the ceremony. The screen pictorially displays the main figures of Crown Prince Munhyo and the appointed Boyanggwan Yi Bok-won, as well as the various aspects of the ceremony.
The importance of Crown Prince Munhyo’s birth was marked by a series of events: the building of the East Palace(Donggung) for him in 1782, the reconstruction of Junghuidang Hall, the 1784 sanggyeonnye, and the administering of political affairs at Junghuidang Hall in 1785. There are three extant screens that depict these events: the aforementioned “Crown Prince Munhyo having sanggyeonnye with Boyanggwan at Boyangcheong”(first month of 1784) in the National Museum of Korea, “Investiture of Prince Munhyo as Crown Prince”(文孝世子冊禮契屛, eighth month of 1784) in Seoul National University Museum; and “Administering Political Affairs at Junghuidang Hall”(重熙堂親政契屛, 1785) in the National Museum of Korea. The screens were created to celebrate the joyous royal ceremonies and to be commemorative reminders for future generations. Thus the existence of these haengsado(painting of a ceremony) explains that a ceremony was important enough to be commemorated for later generations. It is also noteworthy that the painting of a royal ceremony of the late 18th century only survive from 1783, 1784, and 1785. Though an introduction ceremony was held every time a prince met his tutor, a screen painting was never produced prior to the 1784 painting. Therefore, it can be presumed that, as the sustainer of the royal line and reinforcement of royal authority, King Jeongjo placed special significance on Crown Prince Munhyo. Though Prince Munhyo’s early passing prevented him from taking the throne, a number of ceremonies that was expected for an heir to the throne were performed, such as sanggyeonnye and chaengnye(investiture ritual, 冊禮). As the first ritual conducted, sanggyeonnye was considered an important ceremony. The screens were produced for the officials who attended as a commemorative token of the joyous ceremony.
“Crown Prince Munhyo having sanggyeonnye with Boyanggwan at Boyangcheong”is also significant as it is the only known example of haengsado that depicts an introduction ceremony of a prince and a tutor. The composition and figural representation differs from other paintings of royal ceremonies, which adds to its distinctiveness and importance to art history studies.
The figures are proportionally larger, have individual characteristics, and are depicted with naturalistic movements. The figures are also dressed in attire that is appropriate for the season. All of these specific and particular aspects attest to the importance of the screen. Additionally, it was created using the “back coloring technique”(baechae gibeop), unusual for court documentary painting, further denoting the screen’s importance and value.

영어초록

During the Joseon Dynasty(1392-1910), Boyangcheong, an education bureau with tutors, was established to oversee the instruction of Crown Prince. As heirs to the throne, Crown Prince began his schooling at a young age. Boyanggwan(輔養官) who saw to the education and rearing of Crown Prince was selected and the Boyangcheong Bureau(輔養廳) was founded to manage the tutors. When a tutor was selected, a sanggyeonnye(相見禮) was held. Sanggyeonnye was an introduction ceremony, in this case introducing the Boyanggwan(teacher) to the Crown Prince and was the most important ceremony that the Boyangcheong supervised.
The 1784 screen painting “Crown Prince Munhyo having sanggyeonnye with Boyanggwan at Boyangcheong”(文孝世子輔養廳契屛) illustrates the introduction ceremony of Crown Prince Munhyo(1782-1786), the first son of King Jeongjo(r. 1776-1800), to his Boyanggwan on the first month of 1784. The screen painting was made as a painting of a royal ceremony for the participating officials in commemoration of the event. The sanggyeonnye for Crown Prince Munhyo’s first encounter with his two Boyanggwan was held at Daeeunwon(戴恩院) at Changdeokgung Palace(昌德宮). Along with the painting, the screen contains important archival information with a preface that describes the events and a list of officials who attended the ceremony. The screen pictorially displays the main figures of Crown Prince Munhyo and the appointed Boyanggwan Yi Bok-won, as well as the various aspects of the ceremony.
The importance of Crown Prince Munhyo’s birth was marked by a series of events: the building of the East Palace(Donggung) for him in 1782, the reconstruction of Junghuidang Hall, the 1784 sanggyeonnye, and the administering of political affairs at Junghuidang Hall in 1785. There are three extant screens that depict these events: the aforementioned “Crown Prince Munhyo having sanggyeonnye with Boyanggwan at Boyangcheong”(first month of 1784) in the National Museum of Korea, “Investiture of Prince Munhyo as Crown Prince”(文孝世子冊禮契屛, eighth month of 1784) in Seoul National University Museum; and “Administering Political Affairs at Junghuidang Hall”(重熙堂親政契屛, 1785) in the National Museum of Korea. The screens were created to celebrate the joyous royal ceremonies and to be commemorative reminders for future generations. Thus the existence of these haengsado(painting of a ceremony) explains that a ceremony was important enough to be commemorated for later generations. It is also noteworthy that the painting of a royal ceremony of the late 18th century only survive from 1783, 1784, and 1785. Though an introduction ceremony was held every time a prince met his tutor, a screen painting was never produced prior to the 1784 painting. Therefore, it can be presumed that, as the sustainer of the royal line and reinforcement of royal authority, King Jeongjo placed special significance on Crown Prince Munhyo. Though Prince Munhyo’s early passing prevented him from taking the throne, a number of ceremonies that was expected for an heir to the throne were performed, such as sanggyeonnye and chaengnye(investiture ritual, 冊禮). As the first ritual conducted, sanggyeonnye was considered an important ceremony. The screens were produced for the officials who attended as a commemorative token of the joyous ceremony.
“Crown Prince Munhyo having sanggyeonnye with Boyanggwan at Boyangcheong”is also significant as it is the only known example of haengsado that depicts an introduction ceremony of a prince and a tutor. The composition and figural representation differs from other paintings of royal ceremonies, which adds to its distinctiveness and importance to art history studies.
The figures are proportionally larger, have individual characteristics, and are depicted with naturalistic movements. The figures are also dressed in attire that is appropriate for the season. All of these specific and particular aspects attest to the importance of the screen. Additionally, it was created using the “back coloring technique”(baechae gibeop), unusual for court documentary painting, further denoting the screen’s importance and value.

참고자료

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