| Title |
Stage Repairs and Installations for the 1848 Musin Jinchan at the Royal Palace |
| DOI |
https://doi.org/10.5659/JAIK.2025.41.8.223 |
| Keywords |
Joseon; Royal family; Banquet; Musinjinchan; Royal Stsge; Repair; Installation |
| Abstract |
During the Musin Jinchan, the king’s seat was relocated from the main building to Bogye. This new arrangement, including the placement of
the Angchagunmak to the west of Bogye, was unprecedented in earlier periods. The move is believed to reflect the Confucian principles of
the Joseon Dynasty, aiming to create an independent space for the king, especially since the ceremony took place in the main hall where the
Queen Dowager resided. The relocation also served a practical purpose, positioning the king in a place that allowed for direct viewing of the
performance without relying on the main curtain. Although this change narrowed the performance space, it was offset by adjustments to the
layout of the following day’s hoejak, led by the king. The lower structure of Bogye, called Jokmok, was subdivided to form a more unified
stage with the Woldae of Tongmyeongjeon. In this event, the Yongpyeongsang appeared at the Queen Dowager’s seat, symbolizing her
authority as regent. It is likely that the king’s seat did not include the Yongpyeongsang or Yonggyoui out of respect for her elevated status
as the central figure of the ceremony. However, these symbols of royal authority reappeared in the next-day hoejak, indirectly reinforcing the
king’s status through their placement. The relocation of the king’s seat reflects both deference to the Queen Dowager and practical
considerations for performance viewing. At the same time, royal authority was conveyed through the spatial arrangement of the hoejak and
ceremonial symbols. Thus, the Musin Jinchan demonstrates a careful balance of filial respect, functional design, and the affirmation of royal
power. |