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This paper analyzes the cultural iconography of Pyongyang in the mid-to-late 18th century as depicted in <Gwanseoakbu>. <Gwanseoakbu> is a collection of 108 long Akbu poems written by Seokbuk(石北) Shin, Gwang-su(申光洙) in 1774 at the request of his close friend Chae, Je-gong(蔡濟恭), who was about to take office as the Pyeongan governor. Chapter 2 explores Seokbuk and Pyongyang. Pyongyang was a special place for Seokbuk. It was here that his Gwageo answer style poem <Gwansanyungma(關山戎馬)> gained widespread acclaim, earning him literary fame. Furthermore, while he was forced to visit the city in 1760, burdened by poverty and a sense of alienation, it became a healing space that restored his self-esteem as a writer. Becoming known as the author of <Gwansanyungma> gave him the opportunity to enjoy the city's scenic beauty and the music and dance that accompanied it. These experiences in Pyongyang became a crucial foundation for the creation of <Gwanseoakbu>. Chapter 3 analyzes the use of Gagok(歌曲) as a Jeongjae(呈才) in Pyongyang's Gyobang(敎坊), as revealed in <Gwanseoakbu>. By reinterpreting the 15th poem of <Gwanseoakbu>, frequently cited in connection with the origins of Sijochang(時調唱), I raise the possibility that the “Sijo” mentioned therein refers to the popular song of the time, Gagok Isakdaeyeop(二數大葉). I also examine the widespread use of songs, along with Heonseondo(獻仙桃) and Iseonak(離船樂), in the Jeongjae of the Pyongyang Gyobang. Chapter 4 examines the tradition of the Daedong-River Boat Trip, a center of Pyongyang's official festivities. I demonstrate that Daedong-River Boat Trips originated from the royal boat trip tradition of the Goryeo(高麗) Dynasty. I also confirm that during the Joseon(朝鮮) Dynasty, governors hosted Daedong-River Boat Trips to entertain envoys, send off diplomatic missions, and celebrate successful candidates for the provincial civil service examination. This expansion into a welcoming event for the governor in the late Joseon Dynasty stems from the urban transformation of Pyongyang and the rise in commercial prosperity that elevated the status of the Pyeongan Governor. In addition, the Gyobang restored its former scale, and a grand boat festival was established to welcome the governor's appointment. This event became a representative image symbolizing Pyongyang as a city of elegance. Chapter 5 focuses on the seasonal customs of Gwanseo(關西) region captured by Seokbuk. He particularly focused on the Dano(端午) and ice lanterns of New Year's Eve. These vividly illustrate the cultural characteristics of the Gwanseo region, distinguishing it from the southern regions. Seokbuk's capture of these seasonal customs reflects his desire to perceive and document the culture of the Gwanseo region from an outsider's perspective. Through the above discussion, I have illuminated the process by which 18th-century Pyongyang, fueled by commercial prosperity, combined with the Gyobangjeongjae(敎坊呈才) and Gwanbyeonpungryu(官邊風流) to symbolize a splendid city of elegance. Accordingly, <Gwanseoakbu> was created at the request of Chae, Je-gong, who was appointed governor of Pyeongan Province, based on Seokbuk's personal experiences and imagination. However, it can be evaluated as a cultural and historical text that comprehensively portrays the image of Pyongyang in the late Joseon Dynasty.

Shin Gwang-su, Seokbuk, <Gwanseoakbu>, Pyongyang, Cultural Iconography, 󰡔Seokbukjip 󰡕