순종 건원절乾元節 원유회園遊會 초청 엽서와 사진첩의 이미지 분석

Abstract

The Gwonwonjeol(乾元節) is a designation specically used to refer to Emperor Sunjong's birthday. It originated from the tradition of Emperor Gojong (1852–1919), who ruled during the period of the Korean Empire. Emperor Gojong celebrated his birthday as Mansuseongjeol(萬壽聖節). This tradition continued as a national commemorative day, until it was discontinued after the annexation by Japan in 1910. In the latter half of the 19th century, Japan established Shukujitsu(祝祭日), a new national holiday, with the aim of creating a nation centered around the Emperor. Japanese holidays under imperial rule emphasized the mythology and history of the imperial family, often including imperial ceremonies. In contrast, national holidays in the Korean Empire primarily revolved around days associated with the reigning emperor. Originally, the tradition of celebrating the emperor's birthday was a long-standing tradition in China, and eighteen out of thirty four successive monarchs of the Goryeo Dynasty considered the banquets and events held on their birthdays as an opportunity to promote harmony among rulers, ocials, and the general populace. During the era of the Korean Empire, the birthdays of Emperors Gojong and Sunjong can also be seen as taking place within such a tradition. e commemorative event for Gwonwonjeol took place for three years, from 1908 to 1910, involving both the royal court and the public across the nation. e Gwonwonjeol discussed in this paper took place in 1908, and the focus of the study is primarily on the invitation letters requesting attendance at the outdoor garden party, known as Wonyuhoe(園遊會), and the photo album capturing the scenes of the event. The postcard includes a picture symbolizing the long-standing desire for longevity, known in both the royal court and the general population since the Goryeo period. e illustration features deer, elixir plants, and peaches, all of which are components of the Ten Symbols of Longevity(十長生), along with a congratulatory message for Emperor Sunjong’s birthday. In addition, the postcard depicts the props used during the performances of court dances, Monggeumcheok and Heonseondo. The illustrations include a geumcheok (golden ruler), a seondoban (silver stand used for Heonseondo), and a table. Monggeumcheok portrays the founding of Joseon by King Taejo (r. 1392-1398) Yi Seong-gye, who received a divine revelation from the heavens. On the other hand, Heonseondo is based on the myth of the Queen Mother of the West (Seowangmo) and expresses the wish for longevity and a peaceful life. It is interpreted as a depiction of aspirations for Emperor Sunjong’s longevity. e geumcheok (golden ruler) from the court dance 'Monggeumcheok' and the seondoban (silver stand used for Heonseondo) and a table from Heonseondo are depicted in a manner consistent with the diagrams found in the Akakgwebeom (musical canon) from the Joseon Dynasty, illustrating the boundless artistic achievements in palace rituals. However, despite these chosen subject matters, one can sense the situation of the Korean Empire, which lost its appearance as an independent nation. The deer depicted on the postcard, with its posture suggesting a view of its hindquarters towards the observer and the legs of the deer drawn in a way that obscures its existence against the surrounding objects, along with the change in the characters of the lyrics of the court dance Heonseondo that was discontinued after 1901-1902, and the inclusion of a phrase on the postcard predicting the annexation by Japan, all contribute to this observation. For example, in the lyrics of Heonseondo, the term Bonggweol(鳳闕) is used, but on the postcard, it has been changed to Bonghwang(鳳凰). The phrase “gunggweole waseo insa drine” (Coming to the palace to pay respects) has been altered to “bonghwange waseo insa drine” (Coming to the phoenix to pay respects). e phoenix symbolized the Japanese imperial family, and around the same period, the Bonghwangdo(鳳凰圖, painting of phoenix) that adorned Injeongjeon Hall at Changdeokgung Palace reflected the reality faced by the Korean Empire after the Eulsa Treaty, revealing the subjugation of the Korean Empire to Japan. The invitation for the outdoor garden party celebrating Emperor Sunjong's birthday unsubtly revealed the anticipation of the annexation of Korea to Japan by replacing the original lyrics with the word 'bonghwang' (phoenix), symbolizing Japan. The photo album capturing events held around the Yeonghwadang Hall during the garden party and an exhibition in the Juhapru Pavilion at Changdeokgung Palace includes images of the Joseon army from around the Hall, where the civil and military examinations used to be conducted under the king’s supervision dating back to Joseon. The album also showcases scenes of theatrical performances with numerous appearances. However, the exhibited emperors’ calligraphy and ancient weapons in the Juhamnu Pavilion are inappropriate for a sacred space reflecting the ideals of King Jeongjo (r. 1776-1800) in the late Joseon period, as they mock the independence of the Korean Empire. Although the exhibition displayed the calligraphy created by Chongzhen Emperor of Ming China (r. 1627-1644) bearing the preface written by King Yeongjo (r. 1724-1776) in 1727, it reveals the negligence of the Japanese authorities by showcasing the calligraphy of Chinese emperors, not those of Joseon kings. Additionally, placing flowering plants and similar items in the exhibition space further highlights the lack of care from Japanese authorities regarding the entire exhibition. Furthermore, the impoliteness of placing Joseon-era weaponry on crude dolls is also evident. Behind the dolls displaying weapons, there are two royal screens unfolded. ey are screens embroidered with plum blossoms and consist of ten panels with an underlying drawing by Yang Gi-hun (1843-1919), who worked as a painter in the late Joseon period at the Royal Bureau of Painting. Until recently, the production period of these screens was estimated to be from the late 19th century to the early 20th century, and through this photo album, it has been defnitively confirmed that it was produced before 1908.