규장각 소장 〈全州地圖〉 연구: 조현명(趙顯命, 1690-1752)의 전주부성 재건 기록

Abstract

This paper analyzes Map of Jeonju (National Treasure) and identifies it as a painting. Despite the word 'map' in its title, Map of Jeonju bears the characteristics of a painting. It does not contain geographical information that is typically provided in maps, e.g. names of locations, mountain peaks, roads, rivers, neighboring regions or boundaries of administrative districts. On the contrary, it displays pictorial aspects, such as the coloration of blue and green landscape paintings, a stylized depiction of the Jeonjubu Fortress filled and surrounded by flowers and trees, as well as delicately painted human figures. Therefore, the author examines the painting style and the background of Map of Jeonju while focusing on the discrepancies between the title and the image. In this paper, Map of Jeonju is estimated to have been produced sometime between 1734 (when the Jeonjubu Fortress was reconstructed) and 1743 (when the Pojeong Pavilion was built). The most remarkable event during that period was the reconstruction of the fortress by Jo Hyeonmyeong (1690-1752). This is based on the fact that the reconstruction of the Jeonjubu Fortress was significant for the history of Jeonju, and several elements in Map of Jeonju relate to Jo Hyeonmyeong. 140 years after its collapse during the Second Japanese Invasion (1597-1598), reconstructing the Jeonjubu Fortress was a large-scale project. Jeonju served as an important defense point for Hanyang and regional military bases. In Map of Jeonju, only nine buildings are labelled and they are all related to Jo Hyeonmyeong. Another important point is that Map of Jeonju reflects Jo’s opinion that town fortresses were more effective than mountain fortresses. Accordingly, the Jeonjubu Fortress dominates the center of Map of Jeonju while the Wibong Mountain Fortress is almost too small to be recognized. Because Jo had ordered the reconstruction of the Jeonjubu Fortress despite severe droughts and financial difficulties, people called for his impeachment. King Yeongjo (r. 1724-1776), however, supported Jo and helped him complete the project. With gratitude for the king’s positive judgement, Jo Hyeonmyeong named the southern gate pavilion of the fortress Myeonggyeonru, which means the “Pavilion of Bright Judgement”. In his writings, he emphasized the auspicious atmosphere of the Gyeonggi Hall in which a portrait of the first king of the Joseon dynasty is housed. Likewise, there is a group of auspicious cranes depicted above the Gyeonggi Hall in Map of Jeonju. His “Record of the Reconstruction of the Jeonjubu Fortress” describes the entire process and what the project meant to him. Another important aspect is the houses and flowering trees inside and outside the fortress which are reminiscent of the painting Peach Blossom Spring by Kim Huiseong (?-after 1763). Since the painting styles are very similar, it seems possible that Kim Huiseong painted Map of Jeonju. In addition to that, Jo was a patron of Kim Huiseong and had commissioned a painting of his new pavilion from him. After all, Map of Jeonju connects Jo Hyeonmyeong, the reconstruction of the fortress, and the painter Kim Huiseong with each other. Even though it is called a map, the work can be considered a painting which documents Jo Hyeonmyeong’s major achievement of reconstructing the Jeonjubu Fortress.