초록
Jagyeongjeonjinjak involved the refurbishment of the royal stage, featuring patterned mats on the ondol and vibrant lanterns. Cushions adorned the space, while the toekan was revamped with patterned mats. The daecheong floor received a makeover with colored lilies, and the pillars and walls embraced white neunghwa. Chojuji was employed for window repairs. Symbolically, the dragon-patterned chair and resting place represented the king, Seojungbyeong and Seoan denoted the crown prince, and Ikmodaebyeong was exclusive to the crown princess's space. Additional distinctions, such as pavilion dojungbyeong, otter blood cushions, and byeolmunjiui, signified the princess's domain, creating a hierarchical layout based on regal items. Jagyeong Jeonjinjak's restoration marked a clear demarcation between royal and non-royal spaces, emphasizing social status. The king's absolute authority manifested in the chosen items, fostering a political and familial connection between the king, crown prince, and crown princess. The repair and installation characteristics suggested the crown prince's rightful claim to political authority, mirrored in shared items with the king. Similarly, the crown princess, through shared items with the queen, represented the future matriarch inheriting her role. The princess, linking heritage with the crown prince and crown princess, showcased royal ancestry and an intermediary status within the royal hierarchy. Overall, Jagyeongjeonjinjak's symmetrical and horizontal design, along with vertical divisions in Bogye, delineated class hierarchies through deliberate planning in repair and installation.