This is the first of a 20-part Jangseogak series in collaboration with the Academy of Korean Studies (AKS).
By Yun Chin-yong
The portraiture of kings may well be a key to deciphering the royal culture of the Joseon Kingdom (1392-1910), as they capture the realistic images of the rulers.
Unfortunately, only seven portraits of five kings remain today as others were destroyed during the Korean War (1950-53). Among the surviving portraits is one of King Yeongjo.
King Yeongjo (1724-1776) was the longest-lived monarch during the Joseon Kingdom and one of its key rulers renowned for three big political feats — the "tangpyeong" policy which literally means the policy for harmony and meditation when selecting people regardless of their affiliation; the "gyunyeok law" (military tax system); and the dredging project for the Cheonggye Stream.
Most people may be tempted to have their images in portraits beautified; but not this king. King Yeongjo's portrait was painted in 1744 when he was 51-years-old and at the peak of his reign. The current one is in fact a replica that was created in 1900 after the original was burned at Gyeongun Palace. The replica is a half-length portrait and quite close to the original.
Another portrait of him was painted when he was a prince at 21, which exudes a calm and quiet image. But his image was changed in the 1744 portrait which depicted him as a stubborn and charismatic leader, and shows how he ruled the state.
What did Yeongjo think about his portrait? He told his servants that he was satisfied with the painting because it was very close to his real image. In the Yeongjo Sillok (Annals of Yeongjo), he said:
"Now I am showing you (servants) this portrait not because I am bragging about the portrait but because for the future, I want the descendants to follow the meaning of Eoje Daehun, (Yeongjo's admonition to carry on his political thoughts) when they see this portrait. As I have accomplished Sokdaejeon, Sokoreui and Oejedaehun (Joseon's law books), my duty seems to have been done."
Eojedaehun was written by Yeongjo to clear away the controversy over his succession just before ascending to the throne. In this writing, Yeongjo looks back at this painful moment and tries to keep the chaotic state on track and eradicate political disputes between competing factions.
The king hoped that the portrait reflected his strong political faith and his successors would remember these. Eojedaehun is currently stored at Jangseogak Archive at the Academy of Korean Studies (AKS).
Then, why did Yeongjo think his duty seemed to be done at the age of 51? This was because he was not sure he could live much longer as the average life span of the past kings was 47 at the time. So Yeongjo might have thought that his 1744 portrait would be the last in his lifetime.
But the king lived some 30 years longer than he expected and died at the age of 83, leaving behind scores of additional portraits. The majority of his political achievements were made in his 50s and later.
When making historical dramas of the Joseon kings, their portraits are the standards by which to cast actors who are close to the images in the paintings. Yeongjo favored the 1744 painting as it best reveals his character and spirit. The painting captures his inner world and personality.
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The portraiture of kings may well be a key to deciphering the royal culture of the Joseon Kingdom (1392-1910), as they capture the realistic images of the rulers.
.jpg) |
Yun Chin-yong, senior researcher of the Academy of Korean Studies |
King Yeongjo (1724-1776) was the longest-lived monarch during the Joseon Kingdom and one of its key rulers renowned for three big political feats — the "tangpyeong" policy which literally means the policy for harmony and meditation when selecting people regardless of their affiliation; the "gyunyeok law" (military tax system); and the dredging project for the Cheonggye Stream.
.jpg) |
The left photo shows portrait of King Yeongjo when he was a prince at 21, and the right, when the 22nd King of Joseon turned 51. King Yeongjo is known for implementing three policies including the "tangpeyong" or the policy of recruiting people regardless of their affiliations. |
Most people may be tempted to have their images in portraits beautified; but not this king. King Yeongjo's portrait was painted in 1744 when he was 51-years-old and at the peak of his reign. The current one is in fact a replica that was created in 1900 after the original was burned at Gyeongun Palace. The replica is a half-length portrait and quite close to the original.
Another portrait of him was painted when he was a prince at 21, which exudes a calm and quiet image. But his image was changed in the 1744 portrait which depicted him as a stubborn and charismatic leader, and shows how he ruled the state.
What did Yeongjo think about his portrait? He told his servants that he was satisfied with the painting because it was very close to his real image. In the Yeongjo Sillok (Annals of Yeongjo), he said:
"Now I am showing you (servants) this portrait not because I am bragging about the portrait but because for the future, I want the descendants to follow the meaning of Eoje Daehun, (Yeongjo's admonition to carry on his political thoughts) when they see this portrait. As I have accomplished Sokdaejeon, Sokoreui and Oejedaehun (Joseon's law books), my duty seems to have been done."
Eojedaehun was written by Yeongjo to clear away the controversy over his succession just before ascending to the throne. In this writing, Yeongjo looks back at this painful moment and tries to keep the chaotic state on track and eradicate political disputes between competing factions.
The king hoped that the portrait reflected his strong political faith and his successors would remember these. Eojedaehun is currently stored at Jangseogak Archive at the Academy of Korean Studies (AKS).
Then, why did Yeongjo think his duty seemed to be done at the age of 51? This was because he was not sure he could live much longer as the average life span of the past kings was 47 at the time. So Yeongjo might have thought that his 1744 portrait would be the last in his lifetime.
But the king lived some 30 years longer than he expected and died at the age of 83, leaving behind scores of additional portraits. The majority of his political achievements were made in his 50s and later.
When making historical dramas of the Joseon kings, their portraits are the standards by which to cast actors who are close to the images in the paintings. Yeongjo favored the 1744 painting as it best reveals his character and spirit. The painting captures his inner world and personality.
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