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The Last Majestic Ornamentation of Royal Portraits of the Joseon Dynasty: The Construction of New Seonwonjeon Hall in Changdeokgung Palace in 1921 and Court Paintings

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한국학중앙연구원 (The Academy of Korean Studies)|2022.12|The Review of Korean Studies|제25권 제2호|pp. 83-142|DOI 10.25024/review.2022.25.2.003

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참고문헌

키워드

royal portraitDeoksugung PalaceKim Eunhoroyal portrait hallNew Seonwonjeon Hallmajestic ornamentationfolding screen of five peaksfolding screen of peonies
주제분류한국어와문학

초록

This paper examines the background of the construction of New Seonwonjeon Hall in Changdeokgung Palace, the current state of the royal portraits of the Joseon dynasty that are stored there, and the court paintings installed to decorate the space where these eojin (御眞 royal portraits) are installed, such as folding screen paintings of five peaks and folding screen paintings of peonies. New Seonwonjeon Hall was constructed in the rear garden of Changdeokgung Palace in 1921 by recycling elements from royal buildings brought from Gyeongbokgung Palace and Changdeokgung Palace. In the early 1900s the Japanese Government-General of Korea implemented a policy of minimizing the national rites for the royal family of the Joseon dynasty, and the shrine buildings in the respective palaces were demolished. Although this place is part of the dark history of the Japanese occupation period, it is also the last jinjeon (royal portrait hall 眞殿) ever built and enshrines the final 48 portraits of the kings of Joseon. Furthermore, it is a historical site housing relics related to royal portraits. Although most of the royal portraits in this hall were lost during the Korean War, folding screens of five peaks and folding screens of peonies and other royal paintings that decorated the areas around the eojin have survived, shedding light on the way paintings were installed inside a royal portrait hall, the traditional decoration known as “majestic ornamentation,” and the state of court paintings from the time after the Academy of Painting 圖畵署 was abolished until the mid-1930s. In conclusion, it is the only surviving royal portrait hall and shows the tradition of royal portrait production and “majestic ornamentation” 莊嚴 from the Joseon dynasty. New Seonwonjeon Hall offers important data on the trends in court painting, which did not cease even under Japanese colonial rule.

Abstract

This paper examines the background of the construction of New Seonwonjeon Hall in Changdeokgung Palace, the current state of the royal portraits of the Joseon dynasty that are stored there, and the court paintings installed to decorate the space where these eojin (御眞 royal portraits) are installed, such as folding screen paintings of five peaks and folding screen paintings of peonies. New Seonwonjeon Hall was constructed in the rear garden of Changdeokgung Palace in 1921 by recycling elements from royal buildings brought from Gyeongbokgung Palace and Changdeokgung Palace. In the early 1900s the Japanese Government-General of Korea implemented a policy of minimizing the national rites for the royal family of the Joseon dynasty, and the shrine buildings in the respective palaces were demolished. Although this place is part of the dark history of the Japanese occupation period, it is also the last jinjeon (royal portrait hall 眞殿) ever built and enshrines the final 48 portraits of the kings of Joseon. Furthermore, it is a historical site housing relics related to royal portraits. Although most of the royal portraits in this hall were lost during the Korean War, folding screens of five peaks and folding screens of peonies and other royal paintings that decorated the areas around the eojin have survived, shedding light on the way paintings were installed inside a royal portrait hall, the traditional decoration known as “majestic ornamentation,” and the state of court paintings from the time after the Academy of Painting 圖畵署 was abolished until the mid-1930s. In conclusion, it is the only surviving royal portrait hall and shows the tradition of royal portrait production and “majestic ornamentation” 莊嚴 from the Joseon dynasty. New Seonwonjeon Hall offers important data on the trends in court painting, which did not cease even under Japanese colonial rule.

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