국립중앙박물관 소장 《태평성시도》 연구: 등시(燈市)로 표현된 태평성대(太平聖代)

Abstract

The folding screen The City of Great Peace (Taepyeong seongsi do), currently in the National Museum of Korea, is a painting of an imaginary urban landscape which depicts commercial activities inside a city surrounded by a fortress in minute detail. This painting can be dated to the early 19th century. It is known as a representation of the commercialization and urbanization of late Joseon Korea (1392-1910). In previous studies, the commercial elements in the painting were thought to have symbolized the regular business activities as the key characteristics of urban life. However, the painting focuses more on the commercial aspects than on sketching a cityscape. Besides the detailed depiction of commercial life, two noteworthy elements of The City of Great Peace are various kinds of lanterns and many women and children found in the painting. This research argues that this painting depicts a lantern fair (deungsi) in which numerous lanterns are displayed. Furthermore, The City of Great Peace is thought to have been a visual representation of the era of grand peace (taepyeong). There are many pieces of evidence that support the argument that the commercial aspects of the painting show the celebratory and joyful atmosphere of the lantern festival. Most of the commercial goods in this painting are not household items but expensive luxury products, in accordance with historical records about lantern fairs. There are many different kinds of lanterns depicted in the painting that serve to create a festive atmosphere. The customs of a lantern fair in the late Joseon period as described in the books on seasonal customs (sesi pungsok seo) are reflected in this painting. There are many women and children, unlike usual paintings of marketplaces which are dominated by men. Historical records indicate that the annual lantern festival was primarily a holiday for women and children. There are a large number of people on the streets. A closer look at the picture confirms that many elements were painted intentionally for making the composition complex. This visual portrayal of a lantern festival corresponds to textual records mentioning that people of all ages and classes crowded the streets during the fair. The scene of the lantern fair is consistently interpreted as a symbol for the era of great peace accomplished by the benevolent rule of the sage king (wanghwa). The symbolic meaning of the lantern fair is closely related to the light-filled festival on the fifteenth day of the first month in the Chinese lunar calendar (Sangwon Yeondeunghoe; Ch. Yuanxiao denghui). The Sangwon Yeondeunghoe called “Lantern Festival” or “Spring Lantern Festival” consisted of procedures and performances for praising and venerating the royal court. The lanterns in the shape of the characters such as tae and pyeong represent the era of great peace accomplished by the kingly way. In the 19th century, the Sangwon Yeondeunghoe, a special lantern festival, was even greater than before and the taepyeong (great peace) lanterns also appeared during that period. According to historical records, the Sangwon Yeondeunghoe became the subject matter of painting since the early 19th-century. The City of Great Peace showing the tae and pyeong lanterns can be dated to the early 19th century. The tae and pyeong lanterns combine to represent the era of taepyeong that is the world of great peace under heaven. The purpose of creating The City of Great Peace can be inferred by observing the way seasonal customs were described in the books written after 1800. These books tended to glorify their time through the description of seasonal customs. In addition, these books displayed a strong cultural solidarity with China. Emphasizing the cultural solidarity between Korea and China was a way to demonstrate the greatness of Joseon’s culture. Description of the lantern fair in The City of Great Peace showing Chinese-style architectural buildings and people in Chinese hair style and fashion represent the ideal world of peace and happiness. The Chinese elements in the painting show the cultural solidarity between the two countries. In conclusion, The City of Great Peace representing the age of taepyeong served as a means of venerating the royal court and reconfirming the authority of the king by adopting the scene of a special lantern festival.