Page 221 - Ming_China_Courts_and_Contacts_1400_1450 Craig lunas

Chapter 24 The period from 1400 to 1450 was a time of major cultural
and political change in Korea. Following the founding of the
Building Cultural Joseon dynasty in 1392, this era saw the state ideology shift
from Buddhism to Neo-Confucianism. Taejong (r. 1400–18),
Authority in Early Joseon the third king of the dynasty, eliminated senior officials and
their relatives in order to clear the way for his son Sejong
Korea (1400–1450) (r. 1418–50) to seize power. He established policies aimed at
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reducing the estates owned by Buddhist temples across the
country that were enforced by Sejong after he became king.
By 1424, only 18 Buddhist temples of the Contemplative (Seon
Lee Soomi 禪) school and 18 of the Textual (Gyo 教) school would
remain out of the tens of thousands of temples that had
previously existed. Slaves and land owned by temples also
Translated by Oh Seung Hee and Jeong- became the possession of the government. Consequently,
2
Spencer Eunjin the position of Buddhism, a central power in the previous
Goryeo dynasty (918–1392), was severely damaged. 3
This chapter explores how Sejong eradicated the cultural
legitimacy of the past dynasty and propagated the new
cultural authority of the Joseon dynasty (1392–1897)
following this turbulent period. Over the three decades of
his reign, Sejong established an institutional foundation for
the arts and accomplished many cultural achievements.
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Examining this aspect of his reign reveals that events such as
the demolition of cultural symbols of the Goryeo dynasty
and nationwide enshrinement of portraits of the founder of
the Joseon dynasty, hitherto thought to be unrelated, were
actually closely intertwined and aimed at creating a
centralised state that was governed by literature and the
arts. This chapter also studies how poetry, calligraphy and
painting were used for the purpose of forging an emotional
bond between the king and scholar officials, and as a means
to manage symbols of kingship during the Joseon period.
After the political situation stabilised and the authority of
the Goryeo dynasty was subdued, Sejong successfully
established his new cultural policy to enhance the dignity of
the Joseon dynasty. Although Neo-Confucianism was
established as the state ideology, belief in Buddhism lingered
among the populace and, to an extent, respect for the
perceived role of Buddhism in maintaining a stable society.
In order to inculcate fully Neo-Confucianism into Joseon
society, Sejong employed symbols and the arts in
sophisticated ways to communicate his ideas to his subjects.

Sejong’s treatment of royal portraits
Royal portraits were among the most significant symbols of
rulership in dynastic Korea. It is, therefore, important to
examine how Sejong managed the portraits of the Joseon
founder Taejo (1335–1408; r. 1392–98), born Yi Seonggye
李成桂, and the royal portraits of the Goryeo dynasty that
he inherited. By doing so, we will be able to understand the
process whereby the authority of the Goryeo dynasty was
overthrown and the cultural authority of the Joseon dynasty
was established.
Prior to Sejong’s rule, a series of royal portrait halls
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(jinjeon) were established to house the portraits of Taejo. The
first of these halls, named Junweonjeon, was built during the
second month of 1398 at the king’s birthplace of Yeongheung,
Hamgyeong province (Pl. 24.1). In the following month of
the same year, another portrait hall, Jipgyeongjeon, was
established in Gyeongju, the capital of the ancient Silla

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