正祖代 宮中의 城市圖 제작과 함의
Urban Representation and its Connotation in Late Joseon Court Art - A Comprehensive Examination of Cityscape Paintings during King Jeongjo's Reign -
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The cityscape painting, a significant painting subject in East Asian art history, serves as a visual testament to the urban landscapes of a premodern era. These artworks intricately capture various facets of urban life in premodern times, illustrating bustling streets teeming with denizens, including merchants, buyers, inquisitive onlookers, laborers, entertainers, and even grand processions. Termed “Seongsido” during the Joseon period, cityscape painting was a visual narrative that took root later in Korea compared to China and Japan, where rapid urbanization and demographic concentration prompted its earlier emergence. Typically commissioned by sovereign rulers, cityscape paintings in premodern East Asia, such as the renowned “Qingming Scroll” of the Northern Song era, symbolized a harmonious reign marked by urban orderliness. However, in Korea, cityscape painting did not emerge until the late 18th century, coinciding with King Jeongjo’s reign. Previous research primarily approached Joseon cityscape painting as a genre painting. This study argues that the sudden appearance of Seongsido during King Jeongjo’s reign requires a careful examination within the context of court painting to understand its unique characteristics and multiple meanings. To elucidate the circumstances surrounding the unprecedented rise of cityscape painting during King Jeongjo’s reign, this study conducts a comprehensive analysis. It commences with an examination of the initial ten poems of “Seongsijeondosi” ((a poem on cityscape painting) cityscape painting poem), composed in 1792 by Gyujanggak agents and high-ranking officials at King Jeongjo’s request. Subsequently, it investigates the themes associated with cityscape paintings and reviews records of the Chabi Daeryeong Hwawon (court painters in waiting) in the Naegagillyeok (Cabinet Calendar). The findings not only confirm a consistent predilection for cityscape painting among late Joseon monarchs but also underscore that Seongsido was a special painting subject for the select audience within the palace, comprising the king and a few literati officials. Notably, King Jeongjo, known for his scholarly pursuits and in-depth study of Song dynasty history, established the Gyujanggak, emulating the institutional framework of the Northern Song dynasty. His recognition of the potent visual language and the tradition of producing and admiring auspicious paintings in the Northern Song court prompted him to task court painters with reviving the auspicious cityscape as a subject. Though these court painters may have referred to mass-produced reproductions of the Qingming Scroll from the Ming and Qing dynasties during their creative process, the cityscape paintings of late Joseon firmly rooted themselves in the tradition of East Asian cityscape art, particularly within the context of courtly artistic expression. Consequently, the cityscape painting commissioned in 1792 by King Jeongjo’s decree effectively embodied his aspiration for a peaceful reign (Taepyeongseongdae) and a society marked by profound unity (Daedongsahoe), ideals that he ardently pursued throughout his reign.
Abstract
The cityscape painting, a significant painting subject in East Asian art history, serves as a visual testament to the urban landscapes of a premodern era. These artworks intricately capture various facets of urban life in premodern times, illustrating bustling streets teeming with denizens, including merchants, buyers, inquisitive onlookers, laborers, entertainers, and even grand processions. Termed “Seongsido” during the Joseon period, cityscape painting was a visual narrative that took root later in Korea compared to China and Japan, where rapid urbanization and demographic concentration prompted its earlier emergence. Typically commissioned by sovereign rulers, cityscape paintings in premodern East Asia, such as the renowned “Qingming Scroll” of the Northern Song era, symbolized a harmonious reign marked by urban orderliness. However, in Korea, cityscape painting did not emerge until the late 18th century, coinciding with King Jeongjo’s reign. Previous research primarily approached Joseon cityscape painting as a genre painting. This study argues that the sudden appearance of Seongsido during King Jeongjo’s reign requires a careful examination within the context of court painting to understand its unique characteristics and multiple meanings. To elucidate the circumstances surrounding the unprecedented rise of cityscape painting during King Jeongjo’s reign, this study conducts a comprehensive analysis. It commences with an examination of the initial ten poems of “Seongsijeondosi” ((a poem on cityscape painting) cityscape painting poem), composed in 1792 by Gyujanggak agents and high-ranking officials at King Jeongjo’s request. Subsequently, it investigates the themes associated with cityscape paintings and reviews records of the Chabi Daeryeong Hwawon (court painters in waiting) in the Naegagillyeok (Cabinet Calendar). The findings not only confirm a consistent predilection for cityscape painting among late Joseon monarchs but also underscore that Seongsido was a special painting subject for the select audience within the palace, comprising the king and a few literati officials. Notably, King Jeongjo, known for his scholarly pursuits and in-depth study of Song dynasty history, established the Gyujanggak, emulating the institutional framework of the Northern Song dynasty. His recognition of the potent visual language and the tradition of producing and admiring auspicious paintings in the Northern Song court prompted him to task court painters with reviving the auspicious cityscape as a subject. Though these court painters may have referred to mass-produced reproductions of the Qingming Scroll from the Ming and Qing dynasties during their creative process, the cityscape paintings of late Joseon firmly rooted themselves in the tradition of East Asian cityscape art, particularly within the context of courtly artistic expression. Consequently, the cityscape painting commissioned in 1792 by King Jeongjo’s decree effectively embodied his aspiration for a peaceful reign (Taepyeongseongdae) and a society marked by profound unity (Daedongsahoe), ideals that he ardently pursued throughout his reign.
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