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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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This paper examines the ascent to prominence of Mangmyoru Pavilion within Kyŏngmogung Shrine, dedicated to Crown Prince Sado, as a principal repository for enshrining royal portraits (御眞, Ŏjin) during the late Chosŏn period. It also explores the regular inspection and management system of both the chambers inside the pavilion and the portraits enshrined there, which formed the basis for its prominence. Furthermore, the paper delves into the iconography and format of the portraits as documented in historical records, as well as the stylistic characteristics of the existing royal portraits from Mangmyoru. Lastly, it considers how the interior chambers and screen paintings installed in the pavilion changed over time.
Mangmyoru began unofficially housing portraits of King Chŏngjo in the early 1780s. With the official enshrinement of a half-length portrait of King Chŏngjo in 1791, the repository ascended to a principal site for royal portraits throughout the late Joseon period, eventually housing nine portraits of five kings during King Kojong’s reign. After the enshrinement of portraits of King Sunjo and King Munjo, Mangmyoru’s role expanded from solely housing King Chŏngjo’s portrait to enshrining portraits of kings in the direct bloodline of Crown Prince Sado. Furthermore, the format of enshrined portraits was not confined to half-length; sometimes, multiple copies of portraits were housed in a single chamber.
The six royal portraits enshrined in Mangmyoru, now part of the National Palace Museum collection, present the stylistic changes of 19th-century Chosŏn art. Early 19th-century portraits seamlessly blended traditional facial depiction techniques with shading methods, while midto-late 19th-century portraits exhibited bold and stylized shading techniques. The regular inspection and management system for the chambers and the enshrined portraits, established during King Chŏngjo’s reign, cemented Mangmyoru’s role as a premier repository for royal portraits, facilitating the addition of subsequent portraits. The scale and prestige of the repository were further enhanced by the addition of royal portraits, accompanied by regular royal visits and inspections. As the status of Mangmyoru elevated, changes were also made to its spatial arrangement and interior adornment, such as replacing the Ten Longevity Symbols folding screen with the Five Peaks. Through this trajectory, Crown Prince Sado, enshrined in the main hall of Kyŏngmogung Shrine, emerged as the progenitor of the lineage of five kings, represented through the enshrined portraits in Mangmyoru.
Mangmyoru began unofficially housing portraits of King Chŏngjo in the early 1780s. With the official enshrinement of a half-length portrait of King Chŏngjo in 1791, the repository ascended to a principal site for royal portraits throughout the late Joseon period, eventually housing nine portraits of five kings during King Kojong’s reign. After the enshrinement of portraits of King Sunjo and King Munjo, Mangmyoru’s role expanded from solely housing King Chŏngjo’s portrait to enshrining portraits of kings in the direct bloodline of Crown Prince Sado. Furthermore, the format of enshrined portraits was not confined to half-length; sometimes, multiple copies of portraits were housed in a single chamber.
The six royal portraits enshrined in Mangmyoru, now part of the National Palace Museum collection, present the stylistic changes of 19th-century Chosŏn art. Early 19th-century portraits seamlessly blended traditional facial depiction techniques with shading methods, while midto-late 19th-century portraits exhibited bold and stylized shading techniques. The regular inspection and management system for the chambers and the enshrined portraits, established during King Chŏngjo’s reign, cemented Mangmyoru’s role as a premier repository for royal portraits, facilitating the addition of subsequent portraits. The scale and prestige of the repository were further enhanced by the addition of royal portraits, accompanied by regular royal visits and inspections. As the status of Mangmyoru elevated, changes were also made to its spatial arrangement and interior adornment, such as replacing the Ten Longevity Symbols folding screen with the Five Peaks. Through this trajectory, Crown Prince Sado, enshrined in the main hall of Kyŏngmogung Shrine, emerged as the progenitor of the lineage of five kings, represented through the enshrined portraits in Mangmyoru.
목차
Ⅰ. 서론
Ⅱ. 어진봉안처로서 경모궁 망묘루의 확립 과정
Ⅲ. 경모궁 망묘루 봉안 어진과 봉심 관리 체계
Ⅳ. 경모궁 망묘루의 감실 구성과 배설 병풍
Ⅴ. 결론
참고문헌
References
국문초록
Abstract
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