Jongmyo Shrine History: Jeongjeon, Yeongnyeongjeon and the Jerye Rite

At a glance

• 🧭Shrine left, altars right

  Confucian practice put the ancestral shrine on the left of the palace and the altars of soil and grain on the right. Taejo built both after moving the capital to Hanyang.

• 🗓️Chosen 1394, built by 1395

  The site was surveyed in the eighth month of 1394 and settled in the ninth; building began in the twelfth month and the first stage finished in the ninth month of 1395.

• 🔥Burned, rebuilt by 1608

  Destroyed in the Imjin War. Rebuilding was debated from 1604 and completed in the fifth month of 1608.

• 🎼Native music from 1464

  From 1464 the rite used sogak — Korean court music — alone, and the sequence was codified in 1474.

There is a rule underneath the whole layout of old Seoul, and it explains why Jongmyo sits where it does.

In a Confucian state, when a king founded a country and set up his palace, he had to build a royal ancestral shrine and altars of state, to repay the ancestors and to make the ideal of revering heaven and loving the earth known to the people. The placement was fixed: when the king settled his capital, the ancestral shrine went to the left of the palace and the altars of soil and grain to the right. Taejo, who founded Joseon, built the present Jongmyo and Sajik after moving the capital from Gaeseong to Hanyang.

Stand at Gyeongbokgung facing south and it still holds — Jongmyo to the east, Sajik to the west. The order in which the new capital was built is covered in Seoul's history, and the reason for choosing Hanyang at all in why Joseon moved its capital.

The dates show how early it came. Taejo looked at the site in the eighth month of 1394 and settled on it in the ninth. Building started in the twelfth month and the first stage was finished in the ninth month of 1395; work then continued until 1546.

Nothing here is a portrait or a relic. What the halls hold are spirit tablets — small wooden tablets standing for a king or a queen.

In Jeongjeon, the main hall, the chambers are ordered with the west as the senior position, so the first chamber holds the tablet of Taejo, the founder. That single fact explains the building's shape. A shrine that adds one chamber per reign cannot be a compact, centred, symmetrical hall; it has to grow sideways. The long, repeating, almost unornamented front you are looking at is a diagram of dynastic time.

Behind it stands a second hall, Yeongnyeongjeon, and the relationship between the two is easy to miss. Joseon aimed at a five-chamber system: Taejo plus the four generations of kings preceding the reigning one. Taejo was an unmoved tablet who never left. When a new king and queen were added, the tablets that fell outside those four generations were moved out — and they were moved to Yeongnyeongjeon. But a king of great achievement could stay in the main hall past the limit, under the principle of honouring merit.

So the two halls are not "big shrine and small shrine". They are the kings the state chose to keep in the front room, and the kings it moved to the back one.

The building is only half of Jongmyo. The other half is a ceremony.

Jongmyo Jerye is the Confucian rite performed at the shrine for successive kings and queens. It ranked as a daesa, a rite of the highest grade.

Its music has a specific history worth knowing. Joseon debated hard over whether to follow Chinese models or build its own, including for the music. Under Sejong there was a push to adopt Chinese ritual aak wholesale, but with the composition of the Yongbieocheonga a new system of Korean sogak was established, and in 1464 a new Jongmyo rite using sogak alone came into force. The procedure and that native music were then written into the Gukjo Oryeui, published in 1474, and became the standard form for the rest of the dynasty.

That is an unusual thing for a Confucian state to do, and it is the argument for the site's significance in one sentence: the ritual is Chinese in origin and Korean in execution, and the dynasty decided that deliberately.

The rite is designated as national intangible heritage and as UNESCO Intangible Cultural Heritage, and it is performed each spring and autumn.

Be clear about the ages here.

• The site and the ritual layout are original — 1394–1395 ground, still arranged as a shrine.
• The halls are post-war rebuildings. Jongmyo was burned in the Imjin War; rebuilding was under discussion from 1604, the ground was prepared and pillars raised in Seonjo's forty-first year, and the reconstruction was completed in the fifth month of 1608, with later repairs and extensions. The war itself is in the Imjin War.
• The designations are modern: in 1985 Jeongjeon was designated a National Treasure and Yeongnyeongjeon a Treasure.

The route through the grounds is also deliberate, and the encyclopedia describes it precisely: through the main gate, the principal road to Jeongjeon runs off to the left, to the west, while a path curving right, to the east, passes the Hyanggwancheong. Beyond it is the Jaesil. Jongmyo Jeongjeon stands west of the Jaesil, Yeongnyeongjeon west of that, and the Akgongcheong — the musicians' hall — to the southwest of Jeongjeon.

Jongmyo is at 157 Jong-ro, Jongno-gu. How you enter depends on the day — on some days only by timed guided tour — so read the note under the table as well as the hours before you go.

Worth seeing alongside

• 

  Changdeokgung Palace

  Changdeokgung, immediately north — the palace the kings actually lived in while this shrine received them afterwards.

• 

  Gyeongbokgung Palace

  Gyeongbokgung. Stand at its front and Jongmyo is the shrine on the left of the rule described above.

• 

  National Palace Museum of Korea

  The National Palace Museum, which holds what came out of the palaces and the royal rites.

• 

  Namsangol Hanok Village

  Namsangol Hanok Village, a short walk south, for the domestic architecture the ritual world sat on top of.

Frequently asked questions