In its wish for the authority and well-being of the Joseon Dynasty's royal family, the Irwol Obongdo painting stands out with a distinctive composition and bold color contrast rarely seen in other cultures. Whether adorning the throne during official ceremonies or accompanying royal processions outside the palace, Irwol Obongdo is an integral part of the royal narrative. Let's delve into the concealed symbolism behind the canvas. (Editor's note)
Within the palace, myriad decorations were crafted to wish for the king's authority and the prosperity of the royal family. Among them, Irwol Obongdo, unfurled behind the royal seat in the central rear of the audience hall, surpasses numerous paintings and ornaments used within the palace. Even today, within Gyeongbokgung Palace's Geunjeongjeon Hall, a folding screen centrally placed within a compartment depicts the sun, moon, and five peaks symmetrically flanked by red pine trees. Known as Irwol Obongdo, it signifies not only the embellishment of the king's presence but also encapsulates wishes for the prosperity of the royal family and the nation for generations to come.
Irwol Obongdo, found both behind the throne in the main hall of the palace and within the royal tent during outdoor processions, as well as accompanying the deceased king in the royal shrine, symbolized the king's presence not only during his lifetime but also in the afterlife, serving a protective role.
Symbolic Meaning of the Sun, Moon, and Five Peaks
Irwol Obongdo, translated as "Sun and Moon Five Peaks," is a painting depicting the sun, moon, and five peaks. It comes in various formats, such as four-panel, eight-panel, or narrow single-panel formats. Regardless of size or panel count, the existing Irwol Obongdo consistently exhibits formal and compositional characteristics. Typically, it features five mountain peaks, the sun and moon between them, and red pine trees symmetrically positioned on both sides. Analyzing the composition, the central part of the screen portrays the largest mountain peak among the five, with two smaller peaks on each side. The sun is depicted between the right-side peaks, and the moon between the left-side peaks. Waterfalls start between the smaller peaks on both sides, flowing down towards undulating waves below. Four red pine trees symmetrically stand on either side, while the waves at the bottom are stylized in scale patterns. White foam is intricately drawn along the boundaries of mountains, smaller peaks, and waves.
Irwol Obongdo: Depicting the Authority of the King
Let us now delve into the imagery of flowing streams, waves, and pine trees. In the <Seokyeongsho>, there is a passage that states, "The waters of Gangsu River and Hansu River steer towards the sea." Although all waterways on the earth are distant from the sea, this concept illustrates that their direction inherently faces the sea. In the Irwol Obongdo, the scene of two cascading waterfalls into the deep blue sea symbolizes the attention of the entire realm focused on the king, with his courtiers paying respects and presenting their reports. The pine tree, from a Confucian perspective, symbolizes integrity, perseverance, detachment, elegance, and longevity. In the context of Irwol Obongdo, the pine tree represents the enduring strength and stability of royal authority. It resonates with the saying in the Analects of Confucius, "Only after the weather turns cold can one appreciate the deep green color of the pine and cedar trees." Moreover, it evokes a verse from the Yongbieocheonga, a poem written during the reign of King Sejong: "In the distant ages, a single pine tree / Grew amidst the layers of countless blue mountains / Thriving in solitude, will we meet again in another year? / Gazing down at humanity, leaving traces of its silent presence."
On both sides, two waterfalls cascade down, where water, along with the sun and the moon, serves as the source of life, enabling all things to grow. Among all creations, the most precious and mystical being, humans, and among humans, the king with the highest virtue, presides daily in front of the Irwol Obongdo. Only then does the trinity of heaven, earth, and humanity, the three elements constituting the universe, become complete. While the king reigns supreme over all subjects, Irwol Obongdo is crafted to unequivocally convey his authority and dominion to his courtiers and subjects. Simultaneously, it positions the king as a sacred figure who governs the people in accordance with the laws of nature, widely spreading awareness of his divine presence and righteous rule.
Irwol Obongdo: A Unique Artistic Form Unseen Elsewhere
Irwol Obongdo stands as a representative court painting symbolizing the royal family in the later years of the Joseon Dynasty, showcasing a distinctive artistic form that has uniquely evolved in Korean traditional art. The grand symmetrical composition and bold color contrast, not commonly found in other countries, vividly capture the characteristics of Korean traditional art. With a strong emphasis on ornamentation, the painting utilizes intense red hues, contrasting with the blues and greens commonly seen in Cheonggok Sansuhwa (Blue-green Landscape Paintings). The clear outlines depict pine trees, mountains, and waves, adhering to the principles of symmetrical composition.
Exploring tradition is akin to a pilgrimage through unseen time rather than seeking technology. However, adhering rigidly to imitation without evolution poses challenges, as culture inherently accumulates, changes, and progresses over time.
Mimetic replication, drawing the original exactly as it is, represents the most fundamental stage in artistic education within traditional painting. Consequently, such techniques and skills have traditionally been crucial criteria for evaluating an artist's proficiency. Through repeated replication, individuals within the same cultural sphere naturally come to read and understand these forms over time. As repetitions accumulate, artists tend to deviate from blind imitation, introducing variations and innovations. Thus, embracing established frameworks allows for natural progression toward creative expression.
Pursuing Novelty Through Repetitive Replication
Today, acts of imitation and replication tend to be undervalued, often seen as mere functional exercises or criticized for their simplicity. However, within traditional painting, the repetition of such processes unveils hidden layers of humanistic knowledge, adding layers of enjoyment and prompting a gradual pursuit of novelty. Additionally, enduring through challenging times fosters a sense of uniqueness, making the pursuit of traditional methods a valuable endeavor.
True creativity extends beyond merely transcending or rejecting tradition. Instead, it involves cherishing and adapting societal values and customs, transforming them into something uniquely our own. Only when we integrate the wisdom and spirit of our ancestors into our cultural identity can traditional Korean painting, with its rich depiction of the people's way of life, rightfully take its place at the center of Korean art. Furthermore, it has the potential to serve as a guiding icon, bringing about beautiful transformations in the world and illuminating the path for future generations.
In doing so, we can approach the lives of our ancestors, communicate with them, and pass down our stories to the next generation, proudly showcasing the richness of our folk paintings, which encapsulate the vibrant essence of people's lives. Traditional Korean painting, currently establishing itself as a new motif in the creative domain, is poised to transcend tradition and emerge as a fresh icon in the art scene, surpassing conventional boundaries.
• Written by Geum Gwang-bok (Cultural Heritage of Korea, Standing Advisor of the Korean Folk Painting Association) and Edited by Lee Han-jong (Editor at NAKDSEOUL).
Exploring Symbolism, Tradition, and Uniqueness in Korean Court Painting
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