This paper is a study of the characteristics of the Buddhist activities and patronage(佛事) in which the royal family participated and their historical significance during the reign of King Injo(仁祖) of Joseon (1623-1649). For this purpose, the cases of Hwaeom Temple (華嚴寺) in Gurye(求禮), Songgwang Temple (松廣寺) in Wanju(完州), and Simwon Temple(深源寺) in Yeoncheon(漣川) were selected, and the specific cases of royal participation in Buddhist activities and patronage were analyzed. At Hwaeom Temple, Prince Uichang (義昌君) Yi Gwang (李珖) and the royal Son-in-law Dongyangwi (東陽尉) Shin Ik-seong (申翊聖) served as key patrons, participated in the creation of Buddhist statues, and even left the text on the hanging plaques in the temple. At Songgwang Temple, they composed inscriptions, wrote calligraphy, and produced seal script (篆額) for the stele commemorating the temple's founding (開創碑). At Simwon Temple, both figures contributed significantly to the erection of the Stele for Master Jewoldang (霽月堂大師碑). Additionally, Grand Prince Neungwon (綾原大君) and Crown Prince Sohyeon (昭顯世子) also participated as patrons. These individuals were all members of the royal lineage descended from King Seonjo (宣祖) and Consort Inbin Kim (仁嬪 金氏).
Yi Gwang and Shin Ik-seong were exceptional in that their participation in Buddhist activities and patronage extended beyond financial sponsorship (as patrons) to active engagement through literary composition and calligraphy. They shared the common trait of participating jointly in Buddhist practices based on their outstanding literary talents. However, Prince Uichang’s engagement in Buddhist practices reflected his identity as a royal heir to the legacy of Buddhist faith, characterized by an emphasis on fraternal harmony and the Confucian virtue of filial piety. In contrast, Dongyangwi’s engagement in Buddhist practices differed in that it reflected his self-realization and philosophical contemplation as a Neo-Confucian literati.
Prince Uichang and Dongyangwi, as senior figures within the royal family, were held in high esteem and affection by King Injo. Accordingly, their engagement in Buddhist practices not only expressed prayers for royal well-being but also served to reinforce the legitimacy of King Injo’s rule, which had begun through a political coup. Additionally, in Joseon, which was devastated by the Imjin and Byeongja Wars, it played a role in collective healing and overcoming social unrest by praying for the paradise of those who died in the war. This reflects an attempt to overcome a period of extreme turmoil through Buddhism, and the combination of royal financial patronage with the talents of the era’s finest artisans endowed the resulting Buddhist works with exceptional artistic quality.
In the Buddhist community, the Jeweol lineages (霽月派) and Buhyu lineages (浮休系) including Master Byeogam Gakseong (碧巖 覺性) requested epitaphs from them, and each sect attempted to strengthen their own Buddhist tradition and identity by utilizing the influence of Prince Uichang and Dongyangwi. In the Buddhist community, the Jeweol lineages (霽月派) and Buhyu lineages (浮休系) which is leaded by Master Byeogam Gakseong, requested epitaphs from them, and each sect attempted to strengthen their own Buddhist tradition and identity by utilizing the influence of Prince Uichang and Dongyangwi.
In conclusion, royal Buddhist activities and patronage in the first half of the 17th century held important historical significance that extended beyond personal religious devotion, encompassing political, social, and cultural dimensions, and Prince Uichang and Dongyangwi were at the center of this.