그림자 국왕의 초상: 와룡관학창의본 이하응초상

Abstract

Regent Heungseon Yi Ha-eung (1820-1898) was the resourceful father of Gojong (r. 1863-1910), the 26th king of the Joseon Dynasty. He was a king de facto who exercised dominant authority in shadow hidden under the rulership of his young son and actively advocated grand political reforms during the last decade of the dynasty. Regent Heungseon not only was a political man but also a painter of ink orchid and a calligrapher. At the age of 50 in 1869, he commissioned three versions of his portraits. This essay explores the version in which he presents himself in a scholar’s crane garb and the dragon cap of Zhuge Liang (諸葛亮, 181–234). His own inscription on the painting records precisely the names of painters and mounter, and the date of production; here Regent Heungseon does not explicate his motives for the commission. However, deliberating his rulership, we can notice that his political leverage reached the summit around 1869 after his reforms being successfully carried out. He must have aimed to commemorate his achievements until 1869 in his lifelikeness. If so, how did he devise visual strategies in the portrait? The most remarkable characteristic of the portraits is the assorted accouterments disposed around Regent Heungseon, such as bronze incense burner, colored glasses, ink stone, clock, jade seal, sword and so forth. In the tradition of portrait of elite man in Joseon, the scholar’s accouterments demonstrate the sitter’s pursuit of profound knowledge and spiritual liberty in both private and cultural life. Many researchers suggest that this version represents the Regent’s literati identity as a scholarly painter and calligrapher. However, we should consider the fact that he was positioned as the uppermost ruler to formulate and proceed the policy in government when the portrait was produced in 1869. Songhuashi yan (松花石硯), the inkstone with green and yellow stone and glamorous western clock on the table are courtly props that symbolize the authority of Qing emperors. Similarly, Regent Heungseon also had in mind to present the legitimacy of his rulership as well as his connoisseurship of rare and valuable antiques. Above all, the three Chinese characters carved on the sword make the painting more dramatic. The inscription reads “cheoksageom (斥邪劍),” the sword for expulsion of wickedness. In the milieu of the late nineteenth century, cheoksa alludes to Wijeong Cheoksa (衛正斥邪), which literally means, “defending orthodoxy and rejecting heterodoxy.” Joseon was confronted with Western invasions during the reign of Regent Heungseon. Cheoksa means to defend the country against Western force. The official position adopted by the Joseon government was the policy of seclusion against Western Force. The sword with inscription Cheoksa thus symbolizes his commitment to keep this policy. In the portrait of Yi Ha-eung, we can take a glimpse of his self-confidence to political perspective as well as his own achievement. This essay attempts to demonstrate how the portrait of Regent Heungseon is presented exquisitely with specific political messages, and questions the relationship between visual art and political discourse in the late Joseon dynasty.