| Title |
Stage Design and Setup of the 1795 Bongsudang Jinchan Ceremony |
| DOI |
https://doi.org/10.5659/JAIK.2024.40.10.125 |
| Keywords |
Joseon; Royal Banquet; Bongsudang; Playacting Stage; Repair; Installation |
| Abstract |
Bongsudang was designed as a space for royal women, centered around Hyegyeong Palace, and distinctly separated from the men’s area. The
space outside the pavilion’s pillars was reserved for the king and positioned as the upper area of the Bogye, reflecting the political hierarchy.
The Bogye, used for Jinchan ceremonies, featured the Jeongjae area at the center, with music performances at the end, enhancing the
atmosphere with wind instruments. All participants gathered in a single space, creating a grand banquet scene on the court stage. During
King Jeongjo’s reign, the court stage was characterized by a symmetrical and complex arrangement, with participants seated together, unlike
the later period of King Sunjo, where spaces were more specifically divided. This seating arrangement, where the king and participants shared
the same space to honor and watch performances, continued from Bongsudang Jinchan to Yeonhuidang Jinchan. The stage setup during King
Jeongjo’s reign symbolized harmony between the royal family and the people, a unique composition that reflected Confucian values rather
than political order. The layout of Hyegyeong Palace and King Jeongjo’s throne were similar, with distinctions such as Chaehwadeungmae
and Namgwangjikansik on Hyegyeong Palace’s carriage, and Manhwaansik on the king’s throne. The hierarchy was further emphasized by
placing Yongmun Ansik on the king’s seat and Hong Gwangjik Ansik on Socha. Bongsudang Jinchan showcased a balanced, symmetrical
design, with a clear separation of royal women and participants, reflecting Confucian ideals of order and harmony. |