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Political Implications of Court Art Under King Jeongjo: Aesthetics and Production of King Jeongjo’s Visit to Hwaseong

유재빈
한국학중앙연구원 (The Academy of Korean Studies)|2020.09|Korea Journal|제60권 제3호|pp. 371-406|DOI 10.25024/kj.2020.60.3.371

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참고문헌

키워드

King JeongjoHwaseongJoseon court paintinguigwe (royal protocols)chabi daeryeong hwawon (painters-in-waiting)
주제분류한국어와문학

초록

This article provides a detailed analysis of the screen painting, King Jeongjo’s Visit to Hwaseong, elucidating how King Jeongjo strategically used the screen’s aesthetics, production, and distribution to promote his political agenda. To emphasize the king’s intended meaning, the article divides the screen into two halves: panels 1–4, which feature traditional two-dimensional depictions of events, and panels 5–8, which employ less conventional viewpoints, including a bird’s-eye view and one-point perspective. These different perspectives directly reflect the intended themes of the respective panels: the Confucian concept of rulership (panels 1–4), and the art of innovative governance (panels 5–8). To highlight the political motivations involved in the production and distribution of the screen, the article outlines the specific process for painting the screen—from the king’s instructions to the artists’ execution—and describes the intended viewers and their reactions. In addition to the screen, the article also examines related visual materials that were produced and distributed within the same context.

Abstract

This article provides a detailed analysis of the screen painting, King Jeongjo’s Visit to Hwaseong, elucidating how King Jeongjo strategically used the screen’s aesthetics, production, and distribution to promote his political agenda. To emphasize the king’s intended meaning, the article divides the screen into two halves: panels 1–4, which feature traditional two-dimensional depictions of events, and panels 5–8, which employ less conventional viewpoints, including a bird’s-eye view and one-point perspective. These different perspectives directly reflect the intended themes of the respective panels: the Confucian concept of rulership (panels 1–4), and the art of innovative governance (panels 5–8). To highlight the political motivations involved in the production and distribution of the screen, the article outlines the specific process for painting the screen—from the king’s instructions to the artists’ execution—and describes the intended viewers and their reactions. In addition to the screen, the article also examines related visual materials that were produced and distributed within the same context.

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