영조 御眞圖寫의 含意 고찰 = Symbolism and Meaning in the Royal Portraiture of King Yeongjo

다국어 초록 (Multilingual Abstract)

This study explores the background of royal portrait (Eojin) production during the reign of King Yeongjo in the late Joseon Dynasty and offers a multifaceted analysis of its political, cultural, and personal significance. King Yeongjo commissioned his own portraits at roughly ten-year intervals, not merely as depictions of his appearance, but as visual embodiments of his governing philosophy, filial piety, and accomplishments—serving as important mediums for conveying his legacy to future generations.
Drawing primarily on King Yeongjo’s royal writings (Eoje), this paper analyzes the overall patterns and contextual background of thirteen known portraits. In particular, it newly identifies that the portraits created when Yeongjo was 60 and 64 years old were intended to honor his birth mother, Royal Noble Consort Sukbin Choe, and Queen Dowager Inwon, the second consort of King Sukjong. The study also examines the symbolic significance of attire and objects used in the portraits. For example, the chonggwan(traditional headgear) and white leather shoes depicted in the 64-year-old portrait are directly tied to Yeongjo’s expression of filial devotion. Furthermore, Yeongjo commissioned multiple sobon(small-scale versions), which were not limited to bust portraits but referred to smaller full-body images often enshrined in spaces dedicated to personal ancestors.
Yeongjo’s careful involvement in the creation of his portraits reflects his adherence to the Confucian principle of hoesa hoso(繪事後素), meaning “painting must follow inner substance.” He emphasized that portraits should go beyond physical resemblance and visually convey one’s moral convictions and historical achievements. When presenting these portraits to his grandson (the future King Jeongjo), Yeongjo encouraged him not to dwell in sentimentality, but to surpass his grandfather’s political legacy—thus transmitting the spirit of hoesa hosothrough visual means.
For Yeongjo, portraiture was not merely a tool for recording royal imagery, but a means of expressing the historical moment and his personal narrative. Through these visual works, he emphasized the Confucian values of filial piety (hyo) and good governance (chi), hoping that his portraits would serve as enduring teachings (daehun) for future generations.