지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
King Jeongjo(r. 1776~1800) proceeded numerous tasks on reinstating the position of promoting his father, Crown Prince Sado(1735~1762) during his reign. Among these projects, this paper discusses King Jeongjo’s monumentalization of historic sites related to Crown Prince Sado: 1) Sado’s shrine, Gyeongmogung, 2) Sado’s tomb, Hyunryungwon, 3) chamber that enshrines placentas of the royal family, Placenta Chamber, and 4) Yeonggoedae, the site of the Sacred Locust tree in Onyang Palace. The pictures of the historical sites (Sajeokdo) were the results of the restoration projects of the historical landmark of Sado. This study focuses on the representations of these historic sites, which not only reproduced the appearances of the remains, but addressed significances of the sites and the intention of King Jeongojo’s projects.
Gyeongmogung and Hyunryungwon of Sado followed the illustration of the most authoritative book. Without breaking the rank, King Jeongjo’s elaborate logic and plan to raise authority of Sado kept the norms of the restrained books, yet it supported detailed and objective illustration.
Placenta Chamber of Sado was the first time to allow the chamber to hold a placenta of someone else who was not a king, and Sado’s Taebongdo, the painting of Placenta Chamber, was also the earliest example of its kinds. Unlike the court painters, the artist from the province who was selected to depict the placenta chamber on the spot, was not able to fully deliver the style and message of the Royal family. Taebongdo could have been considered as kind of a report material painted by provincial artist. However, the significant way of enshrining the Taebongdo - mounting it as a scroll and offering to the king it along with the rubbing of the placenta chamber stele written by king himself - enabled Sado’s placenta chamber recognized as an authoritative site of the royal family.
Yeonggoedae, the site of the Sacred Locust tree in Onyang is a kind of discovered remains of Sado. According to the story handed down among people in Onyang Province, Sado planted three locust trees in the garden of Onyang Palace when he visited Onyang for his spa treatment. It is hard to find anything related to this story from the official records of the time. King Jeongjo had his retainer to visit Onyang, gathered tales from the people, and awarded all who engaged in restoring the site and those who travelled with Sado to Onyang 45 years ago. There are several different versions of the Yeonggoedae: a report illustration from the province, an official documentary compiled by the royal court, and a royal gift bestowed to the contributor of the project. These versions represent different function of the Yeonggeodae painting in each phase of the project. Yeonggeodae paintings not only severed their roles as documentation and memorial gift, but also certified the place of folk tale as official royal site.
It implies to King Jeongjo’s morals when it comes to approaching the importance of Sado, considering the fact that historical landmarks of Sado were not limited to official documents but broadened among people’s memories. King Jeongjo was always deeply in sorrow even though he admitted a misdeed of Sado; it was kind of an illness (insanity) and that Sado was unfairly killed with a conspiracy. What King Jeongjo obsessed of Sado was the humane reinstatement, rather than attainment of the King. Through official paintings of historical landmark of the royal family and the monumentalization, King Jeongjo respected Sado’s position, and reformed the memories of his father through discovery of the new historical landmark.
Gyeongmogung and Hyunryungwon of Sado followed the illustration of the most authoritative book. Without breaking the rank, King Jeongjo’s elaborate logic and plan to raise authority of Sado kept the norms of the restrained books, yet it supported detailed and objective illustration.
Placenta Chamber of Sado was the first time to allow the chamber to hold a placenta of someone else who was not a king, and Sado’s Taebongdo, the painting of Placenta Chamber, was also the earliest example of its kinds. Unlike the court painters, the artist from the province who was selected to depict the placenta chamber on the spot, was not able to fully deliver the style and message of the Royal family. Taebongdo could have been considered as kind of a report material painted by provincial artist. However, the significant way of enshrining the Taebongdo - mounting it as a scroll and offering to the king it along with the rubbing of the placenta chamber stele written by king himself - enabled Sado’s placenta chamber recognized as an authoritative site of the royal family.
Yeonggoedae, the site of the Sacred Locust tree in Onyang is a kind of discovered remains of Sado. According to the story handed down among people in Onyang Province, Sado planted three locust trees in the garden of Onyang Palace when he visited Onyang for his spa treatment. It is hard to find anything related to this story from the official records of the time. King Jeongjo had his retainer to visit Onyang, gathered tales from the people, and awarded all who engaged in restoring the site and those who travelled with Sado to Onyang 45 years ago. There are several different versions of the Yeonggoedae: a report illustration from the province, an official documentary compiled by the royal court, and a royal gift bestowed to the contributor of the project. These versions represent different function of the Yeonggeodae painting in each phase of the project. Yeonggeodae paintings not only severed their roles as documentation and memorial gift, but also certified the place of folk tale as official royal site.
It implies to King Jeongjo’s morals when it comes to approaching the importance of Sado, considering the fact that historical landmarks of Sado were not limited to official documents but broadened among people’s memories. King Jeongjo was always deeply in sorrow even though he admitted a misdeed of Sado; it was kind of an illness (insanity) and that Sado was unfairly killed with a conspiracy. What King Jeongjo obsessed of Sado was the humane reinstatement, rather than attainment of the King. Through official paintings of historical landmark of the royal family and the monumentalization, King Jeongjo respected Sado’s position, and reformed the memories of his father through discovery of the new historical landmark.
목차
I. 머리말
II. 왕실 사적 전통과 경모궁 · 현륭원 의궤도설
III. 다른 전통의 시작과 사도세자의 〈태봉도〉
IV. 기억의 수집을 통한 사적의 발명과 〈영괴대도〉
V. 맺음말
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