《정묘조왕세자책례계병正廟朝王世子冊禮稧屛》 연구 : 국립중앙박물관 소장 요지연도를 중심으로

Abstract

Yojiyeondo(요지연도, 瑤池宴圖, The Banquet of Seowangmo(Xiwangmu), Queen Mother of the West) kept in the National Museum of Korea was produced on the suggestion of the Office of Transmission to mark the crowning of the prince (later King Sunjo) in 1800 (the 24th year of King Jeongjo). It is considered artistically and historically meaningful in that it has the preface and list letting viewers recognize its production year and its eight folding screen paintings are relatively intact. This work was supposedly completed in folding-screen form with the preface providing a provenience between February 2 and July 4, 1800. Approximately 30 pieces of Yojiyeondo produced in the Joseon Dynasty period presently exist. Pieces of Yojiyeondo that seem to have been produced in the same period as this work are housed in the Seoul Museum of History, the National Museum of Korea, the Gyeonggi Province Museum, and others. These are pieces representing the style of the period between the 18th and 19th century. Yojiyeondo that seem produced earlier than this work in the 18th century verge more on the ancient style in terms of color and expression than pieces that were created afterwards, but do not include Buddhist icons such as the historical Buddha, the four fearful looking guardians of the heavenly king, the Bodhisattva of Great Wisdom, or the Bodhisattva of Great Vow and Action. Those Buddhist icons portrayed for Yojiyeondo are supposedly related to the fact that court painters in the late 18th century made illustrations for novels imported from China like Journey to the West(서유기, 西遊記). This work enables viewers to speculate on this situation at that time. Yojiyeondo that is kept in the National Museum of Korea and was produced to celebrate the installation of the crown prince in 1800 is of great significance in that its production background and historical meaning are known due to its attached preface and list. Its production year is also known as the painting remains relatively intact. This painting is considered historically important as it helps conjecture on the styles and production years of other court paintings.