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Myoung-ho, this statue of Wang Geon was the most sacred
object in the ancestral rituals of the Goryeo dynasty, even
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more so than the royal portrait paintings. Burial of this
statue by Sejong during the Joseon dynasty must have been
an act of considerable political significance.
By burning and burying the portraits and statues of
Goryeo kings, part of the most significant symbols of the
Goryeo dynasty were eliminated. They were replaced by
portraits of the rulers of the new Joseon dynasty in 1430, just
11 years after Sejong established the final Royal Portrait
Hall of King Taejo in 1419.

Sejong’s promotion of literary activities
Sejong was able to accomplish the delicate task of removing
the inheritance of the former dynasty because he had the
support of scholar officials whom he had nurtured at the
Hall of Worthies (Jiphyeonjeon 集賢殿), the Royal
Academic Institute, since 1420. These scholar officials
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advised Sejong on state projects and provided him with
concrete justifications for undertaking them based on
historical sources. Jiphyeonjeon scholars also played an
important role in carrying out major cultural enterprises
during this period, such as the invention of the Korean
alphabet Hangeul in 1443, the publication of the poetry
collection Songs of Flying Dragons (Yongbi’eocheonga 龍飛御天歌),
the first work published in Hangeul, between 1442 and 1447,
and the production of a revised version of the Illustrated Guide
to the Three Bonds (Samgang haengsildo 三綱行實圖) in 1434
with Korean material (see discussion by Sarah Schneewind Plate 24.3 Statue of King Taejo Wang Geon, founder of the Goryeo
in Chapter 25 of this volume). dynasty, excavated at Hyeonneung in Gaeseong. Bronze, height
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By encouraging opportunities for interaction with his 138.3cm. The Korean Central History Museum, Pyeongyang
subjects, Sejong achieved political consensus and mitigated
antipathy surrounding the controversy over the way in which from officials. For instance, in 1442, at the recommendation
he had became king in place of his older brothers. He attended of Prince Anpyeong, Sejong travelled to Icheon to visit a
daily royal lectures, where he read Confucian classics and thermal spring in the company of the prince and many
discussed state affairs with Jiphyeonjeon scholars. After officials. After returning to the palace, Prince Anpyeong
ascending to the throne, Sejong frequently held banquets for commissioned a painting and poems from 17 scholars to
officials and royal family members. According to the Veritable commemorate the visit. Munjong (r. 1450–2), who was the
Records of the Joseon Dynasty, on the eighth day of his crown prince at that time, also composed an archaistic
enthronement Sejong held a banquet in honour of his father phrase, mounted it with a painting, and commanded Sin
during which he wrote poems with one of his elder brothers, Sukju 申叔舟 (1417–75) to write a preface. In 1444 when
Prince Hyoryeong (1369–1486), and danced with scholar Sejong visited a thermal spring in Cheongju, Prince
officials ‘amid great pleasure’. Sejong continued to hold Anpyeong and nine attending officials replied to the Poem on
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banquets for royal family members and toasted them until Sweet Spring Water (Yecheon si 醴泉詩) with 30 poems of their
Taejong passed away. own. It is assumed that these poems were made into a scroll
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Sejong also participated in poetry gatherings with royal by the prince, most eulogising the king’s virtue. Princes
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princes and scholar officials. Poetry exchange, calligraphy were also patrons in their own right. A particularly
and painting were important means for fostering an impressive example is the painting Dream Journey to the Peach
intimate bond between Sejong, royal princes and officials. Blossom Land (Mong-yudowondo 夢遊桃源圖) (Pl. 24.4).
For instance, Sejong attended a poetry gathering held at his Commissioned by Prince Anpyeong, it is a visualisation of
uncle Prince Hyoryeong’s new pavilion Huiwujeong 喜雨亭 his dream, painted by An Gyeon 安堅 (active c. 1440–70)
in 1447. There, the king commanded the crown prince, his with colophons and poems written by 21 scholars.
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third son Prince Anpyeong (1418–53), as well as officials A precedent for the exchange of poetry between ruler and
Seong Sammun 成三問 (1418–56) and Yim Wonjun 任元濬 officials can also be found in the Goryeo dynasty. It was,
(1423–1500), to compose poems. It is believed that two however, practised more collectively and on a larger scale in
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paintings were produced at the gathering: Night Banquet at the Joseon dynasty. Sejong’s poetry exchange with
Huiwujeong (Huiwujeong yayeondo 喜雨亭夜宴圖) and Pleasure of Jiphyeonjeon scholars further aimed to enhance the quality
the Moon along the Riverbank (Imgang-wanwoldo 臨江玩月圖). 23 of poetry and calligraphy. The Veritable Records of the Joseon
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Royal princes, in particular Prince Anpyeong, often Dynasty records that Sejong openly expressed dissatisfaction
played a key role as a mediator when the king sought poetry over standards in the literary arts during a large banquet

Building Cultural Authority in Early Joseon Korea (1400–1450) | 213