규장각 소장 光海君13年(1621) 〈耆碩設宴之圖〉 殘片의 복원적 고찰과 정치적 맥락의 시론적 해석
The Remnants of Giseokseoryeonjido (耆碩設宴之圖, painting of the Elegant Gathering of Venerable Statesmen, 1621) in Gyujanggak : The Consideration of Restoration and an Alternative Approach to its Political Context
- Issue Date
- 서울대학교 규장각한국학연구원
- 한국문화, Vol.84, pp. 379-432
- 기로소; 연회도; 광해군; 심희수; 복원; 정치적 맥락; giroso; agency for the senior high-ranking officials; yeonhoedo; painting of banquets; Prince Gwanghae; Sim Huisu; restoration; political context
- The remaining piece of Giseokseoryeonjido, originally titled Girosoyeonhoedo in Gyujanggak, depicted the moment of girohoe (耆老會, the gathering of senior high-ranking officials). In the night of early November 1621, a girohoe was organized by the supreme senior member, Sim Huisu (沈喜壽, 1548-1622), with the attendance of nine members among thirteen, i.e., Jeong Changyeon (鄭昌衍, 1552-1636), Bak Honggu (朴弘耈, 1552-1624), Jo Jeong (趙挺, 1551-1629), Lee Gwangjeong (李光庭, 1552-1629), Yu Geun (柳根, 1549-1627), Sin Sik (申湜, 1551-1623), Nam Geun (南瑾, 1556-1635) and Min Inbaek (閔仁伯, 1552-1626). Ostensibly, this girohoe was hosted due to the considerable augmentation of the dangsanggwan members in giroso (耆老所, agency for the senior high-ranking officials). It must be noted, however, that there were some changes in political climate at the very moment: the military activities of Later Jin (後金, 1616-1636) were straining the relations between two countries, while attempts at coup d’état were developing in Joseon as a side effect to the anti-Ming and pro-Jin policy of Prince Gwanghae (光海君, 1575-1641, r. 1608-1623). Therefore, it is possible that this girohoe, unlike other seniors’ gatherings, had some unique political context and implication.
On 8 November 1621, immediately after the girohoe gathering, Sim Huisu wrote a eulogy and a preface, followed by ordering a picture of girohoedo with the support of the giroso fund, to perpetuate their girohoe down to posterity. Considering both the convention of the time and the overall condition of the painting, it is highly possible that this girohoedo was painted in November 1621, right after the ceremony. The remaining piece of Giseokseoryeonjido seems quite similar to the monochrome photograph of Girosoyeonhoedo in terms of the iconography and drawing techniques. Still, some minor dissimilarities should not be neglected: differences are detected in the letters and grammars of the preface and the list of the seat orders, not to mention the iconography and techniques. These similarities and dissimilarities testify that Giseokseoryeonjido was painted first, then Girosoyeonhoedo implemented the shortcomings of the former. The research on the provenance demonstrates that Yu Geun received Girosoyeonhoedo, while Jeong Changyeon might have received Giseokseoryeonjido.