가례 반차도와 왕실 혼례 행렬

Abstract

This paper attempts to broaden the understanding of royal weddings by examining various procession plans related to royal weddings and Garye Banchado. The royal court wanted to honor the procession of the bride-to-be, the enshrinement of the king’s presentment, and the royal edicts. Garye Banchado is a practice indicator designed to reflect honor, courtesy, and dignity in the royal wedding procession. At times, the procession of a royal concubine was produced as a Banchado. However, the procession of the bride—the queens or crown princesses—toward the main palace was usually produced as a Banchado, and it was used as a practice indicator and recorded in Uigwe (the royal protocols of the Joseon Dynasty). In 1759, the Chinyeong procession in King Yeongjo and Queen Jeongsun’s garye was firstly produced as a Banchado. The scales of the parade were 900 people in the case of the queen and 700 people in the case of the crown princess. In the Chinyeong procession of King Yeongjo, 1100 to 1600 people were mobilized. The number of guiding officials, procession guards, uijanggi (colorful flags for royal rites), and performance officials according to the status depended on the leading character. In particular, the Banchado of the Chinyeong procession emphasized the presence and importance of the king through strict security during his entrance to the largest procession. The Banchado of Chinyeong led to the introduction of new elements in Banchado. After that, various elements accompanying the procession of the king were visualized, and this led to changes, such as the depictions of various people, threedimensional depictions of palanquins, and a sense of spatial depth. In the 19th century, the number of siwigun (capital guards) was increased. Accordingly, many more people began to be depicted in the illustrations as a means of visualizing the military organization, command system, and the protection scheme for the king. Consequently, the number of pages in the Banchado was increased.