Potret Lukisan Kerajaan pada Akhir Periode Joseon

 Collapse of the Tradition: Royal Portraits under King Seonjo (宣祖, r. 1567-1608)



The characteristics of Joseon royal portraiture are exemplified by Portrait of King Taejo (太祖, r. 1392-1398) (Fig. 1), which is the only extant royal portrait that was actually produced during the Joseon Dynasty. Enshrined in the Gyeonggijeon (慶基殿) Hall in Jeonju, the full-length portrait shows a middle-aged King Taejo, seated on a sumptuous royal throne, wearing a winged cap (ikseongwan, 翼善冠) and blue royal attire (gollyongpo, 袞龍袍). Although the painting is a reproduction made in 1872, it still reflects the style of portraiture from the early Joseon period. King Taejo’s portraits were enshrined in royal portrait halls (jinjeon, 眞殿) that were scattered throughout the kingdom. Royal portraits enjoyed tremendous prominence during the Joseon period, and a great number of archives regarding the painting of royal portraits survive to the present day. As mentioned, however, the portrait of King Taejo is the only royal portrait produced during the Joseon Dynasty that is known today. There are three other surviving portraits of kings—a half-length image of King Yeongjo (英祖, r. 1724-1776) and portraits of Emperors Gojong (高宗, r. 1863-1907) and Sunjong (純宗, r. 1907-1910)—but all of these were made around 1900, during the Great Han Empire (大韓帝國, 1897-1910).


Following the tradition of the Goryeo Dynasty (918-1392), Joseon monarchs commissioned the painting of royal portraits from the beginning of the dynasty. In particular, King Taejo, the founder of the dynasty, had several portraits completed and enshrined at six sites around the country, including Junwonjeon Hall (濬源殿) in Yeongheung, Jipgyeongjeon Hall (集慶殿) in Gyeongju, Munsojeon Hall (文昭殿) in Hanseong, Gyeonggijeon Hall in Jeonju, Yeongsungjeon Hall (永崇殿) in Pyeongyang and Mokcheongjeon Hall (穆淸殿) in Gaeseong (Cho Insoo 2004, 2006 and 2010; Lee Soomi 2005). In addition, portraits of former kings were housed in a special royal portrait hall called Seonwonjeon Hall (璿源殿),1 initially located at Gyeongbokgung, the main palace. Each king would usually have a number of portraits depicting him in various forms, including full-length, half-length, and equestrian portraits, so Seonwonjeon Hall housed dozens of images of past kings.

However, most of these paintings and royal portrait halls were incinerated during the Japanese invasion of 1592 (Cho Sunmie 1983, 116-119). King Seonjo and his vassals had to evacuate immediately, and they were only allowed to bring spirit tablets housed in the Royal Ancestral Shrine (jongmyo, 宗廟) (Seonjo sillok). The large collection of portraits of previous kings at Seonwonjeon Hall could not be transported and were buried instead, sustaining great damage as a result.

During the Japanese invasion, the royal portrait halls in Gaeseong and Pyeongyang were destroyed, and the portraits of King Taejo that had been enshrined there were lost. Three portraits of King Taejo from Yeongheung, Gyeongju, and Jeonju were smuggled to safety by local officials, and thus managed to avoid the destruction. One portrait of King Sejo (世祖, r. 1455-1468) also survived, thanks to the efforts of Buddhist monks who stored it in Bongseonsa Temple (奉先寺) at Gwangneung. Unfortunately, with the exception of these four paintings, all other royal portraits were either lost or destroyed.

Following the invasion, King Seonjo could not actively execute a plan to restore all of the destroyed royal portrait halls or to commission new royal portraits to replace those that had been lost. The king remained in refuge until 1593, when he was finally able to return to the palace, but even then he had to postpone reconstruction of the devastated palace and royal household due to the war, which lasted until 1599. Still, he felt it was necessary to reconstruct the royal portrait hall in Yeongheung, so that at least one portrait of King Taejo could be properly enshrined.

Notably, some 60 meritorious subjects had portraits bestowed on them during King Seonjo’s reign. Subjects who distinguished themselves in battle against the Japanese were offered the title of “Military Order of Merit” (Seonmu gongsin, 宣武功臣), while the vassals who escorted King Seonjo to safety in Uiju were given the title of “Meritorious Subject Escorting the Monarch” (Hoseong Gongsin, 扈聖功臣). Furthermore, those who helped to suppress a revolt led by Yi Monghak (李夢鶴, d. 1596) in 1596 received the title of “Meritorious Subject Suppressing the Disturbance” (Cheongnan Gongsin, 淸難功臣). The work of selecting these meritorious subjects and recording their contributions began in 1601 and was completed in 1604. A total of 109 retainers were selected as meritorious subjects, and the 64 who had survived the war were presented with their portraits by the king (Hoseong seonmu cheongnan gongsin dogam uigwe). Despite this great number of new portraits commissioned by the court, the rebuilding of the royal portrait halls and the restoration of royal portraits did not begin until the reign of King Gwanghaegun (光海君, r. 1608-1623).



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