화성행행도 병풍으로 본 정조의 행차 편집하기 (부분)

===Eng===
In 1795, King Jeongjo of Joseon set out on a royal procession to Hwaseong Fortress in order to pay respects at the tomb of his father, Crown Prince Sado, known as Hyeollyungwon (now Yungneung Royal Tomb). This event was not merely a ritual visit to the royal tomb but also included a grand banquet in celebration of the 60th birthday of his mother, Lady Hyegyeong. According to the <i>Wonhaeng eulmyo jeongni uigwe</i> (Royal Protocol of King Jeongjo’s Visit to the Tomb of Crown Prince Sado), this journey served multiple purposes: an expression of filial piety, a military inspection, communication with the people, and a review of local administration.

The key moments of this journey were later illustrated in a folding screen titled the Folding Screen of the Royal Parade to Hwaseong Fortress (Hwaseong haenghaengdo byeongpung). Comprising eight individual panels, this documentary painting captures the most important events of the procession, each panel portraying a distinct scene. The screen is currently housed in the Leeum Museum of Art and was designated a Treasure of Korea in 2007.

The eight scenes depicted on the screen are arranged in the actual chronological order of the procession:

① <i>Ritual at Hwaseonghyanggyo Local Confucian School</i>: On the 11th day of the intercalary second month, King Jeongjo visits the tomb of Crown Prince Sado, then stops at Hwaseonghyanggyo Local Confucian School to offer a ritual bow before the spirit tablet of Confucius. This scene symbolizes the harmony of Confucian tradition and royal filial piety.

② <i>Announcement of State Examination Results at Nangnamheon Hall</i>: On the same day, the king announces the results of the state examinations. This act of personally recognizing successful candidates reflects King Jeongjo’s values of meritocracy and intellectual achievement.

③ <i>Banquet at Bongsudang Hall for Lady Hyegyeong’s 60th Birthday</i>: On the 13th day, a grand banquet is held in the courtyard of Bongsudang Hall to celebrate the queen mother’s 60th birthday. This event served as the symbolic peak of the entire procession and is one of the most elaborately illustrated scenes.

④ <i>Feast for Elders at Nangnamheon Hall</i>: On the 14th day, the king hosts a banquet for 384 elderly guests, including aged court officials and local seniors from Suwon. The scene embodies the Confucian ideal of respect for elders and King Jeongjo’s personal sense of filial devotion.

⑤ <i>Nighttime Military Drill at the Western Command Post</i>: On the evening of the 12th day, King Jeongjo observes a nighttime military drill at the Western Command Post of Hwaseong Fortress. The king’s direct supervision of the troops underscores the political significance of the procession as a display of royal authority and military preparedness.

⑥ <i>Archery and Fireworks at Deukjungjeong Hall</i>: On the 14th day, King Jeongjo engages in archery and watches fireworks with his officials at Deukjungjeong Hall. The scene combines martial skill with leisure and camaraderie between the monarch and his court.

⑦ <i>Procession on the Return to the Palace</i>: On the 15th day, the royal procession departs Hwaseong Fortress and proceeds to the temporary palace in Siheung. The composition emphasizes the scale and dignity of the returning procession, which includes soldiers, musicians, court ladies, and royal guards.

⑧ <i>Crossing the Hangang River via Pontoon Bridge</i>: On the 16th day, King Jeongjo crosses the Hangang River at Noryangjin on a pontoon bridge and returns to Changdeokgung Palace via Sungnyemun Gate. This final scene solemnly concludes the royal journey and the folding screen itself.

This folding screen is not merely a work of art but a detailed historical record that vividly illustrates the events of the 1795 procession. Based closely on the <i>Royal Protocol of King Jeongjo’s Visit to the Tomb of Crown Prince Sado</i>, each scene reflects actual geography, architecture, costumes, and ceremonial procedures of the time. The diverse nature of the events—banquet, archery, military drills, and ritual rites—is harmoniously arranged into a single visual narrative.

The screen also reflects King Jeongjo’s governing philosophy. Each scene visualizes the ideals of a reform-minded monarch: legitimization through filial piety, promotion of talent, inspection of military readiness, and engagement with the public. The folding screen stands as a visual symbol of King Jeongjo’s vision of a well-ordered and humane state guided by Confucian principles and practical learning.

Today, the Folding Screen of the Royal Parade to Hwaseong Fortress serves as an invaluable source for the study of Korean court painting, royal rituals, urban history, and cultural heritage. Together with Hwaseong Fortress itself, it offers deep insight into the cultural and political renaissance that flourished under King Jeongjo’s reign.