The Administration of the Chinwangbu System during the Korean Empire and Imperial Prince Yŏng’s Productions of Calligraphy and Painting

This paper examines how the newly introduced Imperial Prince System (<i>ch'inwangje</i> 親王制) and the management of the Imperial Prince’s Bureau (<i>ch'inwangbu</i> 親王府) in the Korean Empire shaped the early education of calligraphy and painting and artistic activities of imperial prince Yŏng 英親王 (1897~1970). The <i>ch'inwangje</i> system during the Korean Empire was modeled after the Tang dynasty’s royal title system and governmental structures, illustrating Emperor Kojong’s strong interest in the education and cultivation of the prince’s qualities. Imperial prince Yŏng, who developed a notable interest in calligraphy and painting, appears to have received a systemized education from an early age with the guidance of several teachers. While the previous scholarship dealt mostly with Kim Kyu-jin 金圭鎭 (1868~1933) as a primary role in the prince’s education, this study sheds new light on the contributions of An T'aek-chung 安宅重 (1858~1929), who served as a teaching official at the Suhagwŏn Royal Academy and as a tutor to the Crown Prince. Imperial prince Yŏng’s extant work can be categorized into two distinct phases: those produced before the age of ten, which are mostly limited to calligraphy, and works from his later years that demonstrate modern education, as seen in <i>Imperial prince Yŏng’s Childhood Calligraphy and Paintings</i> 英親王幼年時書畵. Considering that Imperial prince Yŏng was trained in both traditional and modern styles of calligraphy and painting, An’s artistic endeavors during his time in the prince’s household offer valuable insights into the nature of court art during the Korean Empire era. Furthermore, they contribute to a broader understanding of the impact of modern art education in Korea across different social strata during this period.