the rite of departure from the palace); jakheonui (䜠⥏۔:
planners of this painting album. The illustrated scenes
libation rite at the ancestral altar); iphagui (ܹᅌ۔: the
of the ceremony accurately reflect the ritual protocol
rite of commencement of learning) including wangbogui
and complement the text.
( ᕔᕽ۔: the rite of formal request for instruction); supyeui (㛽ᐷ۔: the rite of offering gifts); and suhaui 28
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2)
The First Scene:
The
Chulgungdo (出宮圖: Departure from the Palace )
album also contains six pictures illustrating the different
The first painting illustrates Hyomyeong Seja's
phases of the ceremony. In the last part of the album,
procession (in which the order of each official's position is
there is a collection of poems written by each of thirteen
exactly arranged according to his rank) as it leaves the palace
officials from the Sigang-won, offering felicitations on
toward the Munmyo (᭛ᒳ: National Confucian Shrine),
(ফ䊔۔: the rite of receiving congratulations).
29
the occasion of the iphagnye. The last leaf contains an
the location of the iphagnye (Plate 4-1). The procedure
epilogue by Nam Gongcheol (फ݀䔡, 1760-1840), who
for Hyomyeong Seja's departure and return to the palace
served during the ceremony as a former daejehak.
followed the protocol used in King Jeongjo's iphagnye in
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1761.33 Riding in yeo (䔓: royal sedan chair), Hyomyeong
Jwa-uijeong (Ꮊ䅄ᬓ: Second State Councilor)
Seja departs from his residence in the Donggung, exits
Han Yonggui (䶧啡啰, 1747-1828), who also held the title
Junghwamun (䞡㧃䭔: gate in Deoksugung), passes by
of bu, first proposed the iphagnye for Hyomyeong Seja
Igeukmun (䊇Ὁ䭔), and arrives at Honghwamun (ᓬ࣪䭔:
when he turned eight years old in the sixth, lunar leap
the main gate of Changgyeonggung [ᯠᝊᆂ: palace built in
30
month, of 1816. However, in accordance with King Sunjo's
1483]). Upon passing the Honghwamun, the seja changes
directive, his iphagnye was postponed to the following
from yeo to yeon (䓺: royal palanquin), and arrives at the
year. On New Year's Day in 1817, the jwa-uijeong and
east gate of the Munmyo.34
u-uijeong Gim Samok (䞥ᗱ〚, 1740-1829) reintroduced
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the proposal for the seja's iphagnye, and discussions on
Igeuk, literally “second highest” refers to the
31
an auspicious date and ceremony proceedings were held.
Heir Apparent and Igeukmun lies at the junction of
The iphagnye in the end was held on the eleventh day of
the two Donggung areas, namely Changdeokgung with
32
the third month, from 11 am to 3 pm. Before the actual
Junghuidang as its main building and Changgyeonggung
ceremony, a preliminary rehearsal was held on the sixth
where Simindang and the Sigang-won were located.
day of the third month, followed by a final rehearsal on the tenth day, on the eve of the ceremony. |
Nam Gongcheol's epilogue indicates that the officials of the Sigang-won, although they had completed their duties as palace officials following the completion of the iphagnye, had decided to leave a pictorial record of this splendid event for posterity in a form of painting album. Along with the epilogue, Nam Gongcheol wrote a verse in the format of o-eonyulsi (Ѩ㿔ᕟ䀽: five-syllable quatrain) and instructed each official to compose another in the same format. The idea of replicating the entire iphagnye in six scenes - from the departure procession at the Donggung, to the iphagnye at the Seonggyun-gwan, and the congratulatory ceremony by government officials of all ranks - was conceived in the minds of the officials of the Sigang-won, the
( Plate 4-1 ) Chulgungdo, 1st scene of the Painting Album of the Iphagnye of the Wangseja Anonymous, 1817 Album leaves, colors on paper H: 33.8 cm; W: 45.2 cm (each scene) National Palace Museum of Korea