I.Introduction

The Renaissance age when costume is one of the most splendid in costume history is a significant time of change from the medieval to modern times. Studies on male costumes in addition to female costumes are necessary to completely understand costumes of one era and a study about the king is important as data of male costume in the 16^th century since the king who played an important role in the 16^th century with many changes, was a fashion leader. Among the kings of Europe, King Henry VIIII left the greatest number of self-portraits, so paintings drawn with King Henry VIIII as the central figure are important materials for research on the social cultural background and costume of the time.

Especially, portraits that are important painting materials of the time are very useful as they suggest important data to examine characteristics including fashion and hair style and even decorative art of the time (Shin, 2005). Portraits in the 16^th Century, which had realistic expression of the period's clothes and jewelry in details, are important in research on the 16^th century's sociocultural background or on the period's costume.

Previous studies on portraits had been made limitedly like ‘A study on the symbolism shown by the costumes in the portraits of Elizabeth I’ (Bae, 2000), ‘From princess to empress: The transformation of the monarchy in the portraits of king Victoria 1819- 1901’ (Nochlin, 2001), ‘The symbolic meanings of Marie Antoinette’s costumes in the portraits’ (Kim, 2011), ‘The symbolic meanings of Louis XVI’s costumes in the portraits’ (Kim, 2011). The research on portraits is rare compared to that on costume and particularly research on male portraits is extremely rare. As research on male portraits in the 16^th century has not been conducted, the study believes that multilateral research should be made on symbolic meanings through portraits of Henry VIIII.

This study attempted analysis of costumes from portraits-related literatures, England Renaissance history, biography of King Henry VIIII, the history of costumes of the era of King Henry VIIII of England, costume figures, and various domestic and overseas literatures on visual perception, preliminary study paper, and web sites etc. For analysis of paintings centering around portraits out of ones that drew King Henry VIIII, this study selected and used paintings that are so characteristic of the symbolism of King Henry VIIII mainly from literatures ‘Dress at the court of King Henry VIIII (Hayward, 2007)’, ‘The inventory of King Henry VIIII (Hayward & Ward, 2012)’, ‘The book of costume (Davenport, 1979)’ and NPG website focusing on the literature and websites that contents of portrait as well as the portrait of Henry VIIII in the English costume history are considered comparatively detailed. This study selected and analyzed total 17 works that are considered the most appropriate to show symbolic image of Henry VIIII amongst Henry's clothes and backgrounds expressed in his portrait. In analyzing symbolic meaning of the portrait, costume shown in the portrait carries an important meaning, but background expressed in the portrait has a no less influence in understanding symbolic meaning of it. Because aesthetic category of symbolic images can be classified depending on individual opinions, not as a formal classification as it is, and as for paintings selected, this study analyzed and suggested symbolic images associated in the scenes and explanations of paintings by referring to the aesthetic category suggested in publications Kim (2013) and Cho (2004).

The purpose of this study is to examine symbolic meanings shown by portraits of King Henry VIIII and use them as basic data for research on costume design of historical dramas in the Renaissance or on King Henry VIII’s costume.

II.Background

1.Socio-cultural background

Movement of the Renaissance that started with Italy was spread all over Europe such as Germany, France, England, Spain etc. Recovery of humanity from the restraint of medieval church and feudalism was attempted. As God-centered conception of the medieval ages changed into human-centered humanistic thinking, clothes of both men and women underwent many changes. It also had a large impact on costume, so medieval style that wraps up body changed to the style that emphasizes the beauty of human body, but immoderation of the style rather resulted in expansion, exaggeration and distortion of human body. Although the Renaissance started around Italia in the latter part of the 15th century, Spain that secured strong national power and headed up great riches due to discover of the American Continent became the center. In the late 16^th, however, the initiative in Europe moved to England together with weakened naval power of Spain (Bae, 2008).

While the Renaissance was being pushed ahead centering around Italia, a social critical and religious reform movement rose up in Northern Europe due to deep-rooted feudal system and strong power of the Roman Catholic Church hindering development of emerging power. The Protestant Reformation was a movement to deny the authority of the Holy Father and predominate over religion, but was developed to a profane social movement and racial movement by associating with desire to escape from feudal bondage. The Protestant Reformation weakened authority of the Catholic churches by establishing protestant churches with a rational religious view.

In England, royal authority started to be strengthened with start of the Tudor dynasty in 1485 when the Wars of the Roses amongst aristocrats ceased, and strong monarchy began from the time when Henry VIIIascended to the throne in 1509. England enjoyed its prime after Queen Elizabeth I succeeded to the throne. Henry VIIIof England weakened authority of churches more by separating English churches due to his marriage problem (Go, 2008).

A court painter Hans Holbein (1497-1543) acted not only as a portrait painter but as a court fashion designer. Holbein was excellent in idolizing the appearance of a figure and had a figure a work of art with accurate observation and high level of realism. Unlike his daughter Elizabeth, King Henry VIIIdid not formulate rules of restrictions on production and distribution of his portrait, but intended to have painters make it majestic and marvelous. Especially, Henry VIIIutilized portraits actively to enhance Protestantism and Tudor Dynasty.

2.Characteristics of costumes in Renaissance age

The tendency of medieval costume that did not stress human body changed to human-centered entering the Renaissance age. In other words, feature of Renaissance costume aiming at regeneration of humanity form an exaggerated silhouette by giving undue stress on sensual beauty and transforming the beauty of human body (Jeong, 2003). Women’s costumes formed a x-shape silhouette with corset and farthingale, and were ornamented splendidly with pearl, ribbon etc. (Bae, 2008). Men’s clothes form an inverted triangular silhouette on the whole by inflating and padding upper body, and making lower body very tight. Men inflated shoulders and chest by including a padding to express brawny masculine beauty and tightened waist to emphasize the beauty of expansion more, giving a sense of volume by putting pads to pants. And distinct characteristic of the Renaissance age is excessive ornament by slash, ruff collar, embroidery and jewels. The king who enlarged his power through establishment of economic strength and centralized authoritarian rule showed off his power with splendid and dignified clothes. As a great change in the 16^th century, men’s costumes was characterized by a froth of close-fitting pourpoint, expressing energy and splendor using pad, puff, slash etc. Men’s costumes intended to express masculine power with a sense of volume by putting pads in both top and bottoms. Especially, waist was tightened more to make shoulders and chest look bigger. As a neckline-pleating ruffled collar which was small in the early years grows bigger, ruff was developed to a variety of shapes and ruff size carried an important meaning in clothes. Like this, artfully arranged men’s clothes were considered to show unapproachable dignity and power the more complicated and splendid they are, and the concept of masculine beauty in the Renaissance age was decided there. Men used to radiated more masculine power by putting on a cape on the pourpoint to look bigger as if they have a big build. As for hair style, shoulder-length hair prevailed in earlier years, but shortened hair and top made an impression of a strong man in the middle of the Renaissance. Thin toque and calotte were continuously worn as men’s hats, but barrettes were generally used in the height of prosperity. Men had a fancy for expensive jewels or pearl as much as women did, so they used to use several things at a time and preferred pendants, earrings, bracelets, rings or elaboratelyworked thick chain-shaped necklaces ornamented with big sized jewels. Shoes were transformed from medieval shoes with pointed toes to the ones with wide and roundish front, and ornamented with slash and splendid jewels. Men’s costumes intended to express masculine power with a sense of volume by putting pads in both top and bottoms. Especially, waist was tightened more to make shoulders and chest look bigger.

III.Life of the King Henry VIII

King Henry VIII(1491-1547) was the second king of the Tudor dynasty of England and was a measurable figure who demonstrated leadership and brought about changes in the history of British Royal Family as the lord of Ireland, and he was born as the second son between Henry VIIand Elizabeth of York. King Henry VIII, a strong ruler who solidified absolute royal authority and religion of England was an outstanding marksman, tennis player and great knight when he succeeded to the throne at the age of eighteen. With a wide range of academic interest, King Henry VIIIenjoyed a discussion about various fields such as astronomy, geometry, divinity etc. He had literary taste obtained from theology and novel, and he was capable of writing a poem and had profound knowledge of music and arts, so he composed a hymn and played a lute marvelously (Maurois, 1956/1997). He was also much interested in appearance showing off a fine presence. For his excel in languages such as French and Spanish, King Henry VIIIwas evaluated as the most intelligent person in British Monarchy. Around the year 1497, he pioneered a sea route to North America. King Henry VIIIgathered about 200 fleets to defeat France, which enabled his daughter Elizabeth to flourish by defeating the Invincible Armada afterward (Shinginbutsuouraisha, 2013).

King Henry VIIIcontributed to the development of England to a powerful nation by strengthening naval power and reorganizing government organs including establishment of bureaucracy. In the history of England, King Henry VIIIbuilt strong royal authority and changed history of English Christianity by separating English churches from the Roman Catholic churches by changing the state religion from Catholic to the Anglican Church. However, he consumed a huge amount of finance by waging war against France and Scotland. In pop culture, King Henry VIIIwas a monarch who married six times showing off strong royal authority leading unification of England and Wales. King Henry VIIIhad a strong masculine disposition as much as not hesitate to go into battlefield even after he arrived at old age. King Henry VIIIis evaluated as a leader who brought prosperity to cultural heritage in architecture and arts considering the meaning of the Protestant Reformation and foundation of navy he performed. In his latter years, King Henry VIIIput concern for ‘sustainability’ as much as he regulated cutting young oaks considering exhaustion of oaks used for building ships and to protect forests. Recognizing the importance of portraits or paintings, King Henry VIIIalso had painters paint various tendencies of King on a canvas and express them in a symbolic way.

IV.The Symbolic Meaning of King Henry VIII's Portraits

1.Authority

<Fig. 1> is showing wealth through the costumes worn by King Henry VIII, ornament of jewels and background decoration, and the authority of kind is more emphasized by a potent force expressed through the physique, size of costume, posture and sword. In the painting, position of King Henry VIIIpainted ahead of Henry VII, facial expression and expression of posture are symbolizing the greatest living authority of the King Henry VIII. The glaudekin worn by Henry VIIis a long gown which was in fashion during the period of Henry VIIand Henry VIIIalso put the glaudekin in his youth (Hayward, 2013).

In the full-length portrait of king that Holbein painted, shoes that tiptoe part is square-shaped was a style prevailed in those days. <Fig. 2> is the scene that King Henry VIIIarrived at Gusnes riding on horseback at a procession together with cardinal. In the early 16^th century, political rivalries between King Henry VIIIof England and Francois I of France affected a rivalry for splendid costume. In 1520, a border area which was the location for the meeting between the two kings was splendid as much as the whole part of the field looked gold. To show off the power and authority of England, King Henry VIIImade a large number of tents gold-colored for making them look luxury and decorated horses using a cache of gold (Kim et al., 2010).

In western costume, Christian superiority in color was established since the Byzantine age, and yellow represented richness and gold color symbolized virtue and good deeds (Cho & Lee, 2004). Golden color used in the painting is also symbolizing the authority of the king of England as the highest man of power. As for <Fig. 3> that Holbein dedicated to King Henry VIIIas a New Year’s gift, Holbein painted it in great detail with a grisaille drawing technique that paints the interior encircling King Solomon with light and shade using only gray as a single color. In the painting, King Solomon is sitting on the throne in the middle of screen and the Queen of Sheba was painted below, and a male entourage in right lower part is dedicating presents to Solomon. Solomon in the work symbolizes King Henry VIIIof the Tudor dynasty. Standing for the authority of Solomon, the throne in the center, crown, stick and mustache are the Act of Supremacy,symbolizing enhancement of royal authority and prestige by equating King Henry VIIIwho established state religion of England with Solomon who was the king of Christianity. And blue color used for background is a religious expression connoted in the painting, which has a meaning to guide people to the psychological state of enlightenment, and pray for eternal authority is symbolically expressed reflecting that blue stands for sacred and eternal color with a meaning of wish that all things can continue (Cho & Lee, 2004).

Through the Tudors’royal succession, <Fig. 4> is representing authority of the Tudors and King Henry VIII. Royal patterns of England include various symbols that stand for the spirit of the United Kingdom of Great Britain and Northern Ireland. Animals standing on their hind legs on both sides of <Fig. 4> stand for England and Scotland. A golden lion putting on a crown traditionally represents England and a silver-colored unicorn represents Scotland. Unicorn with a sharp horn instead of a crown is chained by the neck as a free and dangerous existence, which represents the ambition of England to subjugate Scotland in the United Kingdom of Great Britain and Northern Ireland. On the quadrisect shield pattern in the middle, three golden lions representing England are on the second and third parts showing an appearance of moving forward raising their right forepaws. A golden lion putting on a crown and standing on all fours in an imposing manner staring at front at the tope of the center stands for the initiative of England, and an arabesque pattern used in the background of King Henry VIIIrepresents continuous prosperity of wealth and continuance of family’s honor, which is symbolizing the dignity and authority of King Henry VIIIand England.

In <Fig. 5> costume is designed to be sewed with a lot of king-owned jewels on the surface of the costume. The foregoing was mainly applied to the most splendid costume amongst king’s costumes such as a gown, and influenced by the tendency, a ruby is fixed on a doublet in the portrait of King Henry VIIIpainted by Holbein. Under ordinary circumstances, King Henry VIII’s costume was sewed to be composed with jewels same as ones ornamented on the accessories such as a garter. The king always put on a costume ornamented wealthily with jewels (Hayward & Ward, 2012). In other words, jewels, extravagant embroidery ornament and fur became a badge of King Henry VIII’s great wealth and authority. In the portrait, splendid clothes were emphasized by using high-priced gold and silver leaves to express the authority of king, and authority is also emphasized by wealth using blue color on the background which was expensive in those days. In addition, the portrait is also alluding absolute authority of king transcending time and space by expressing background vaguely, not as an exact space, and expression without the shadow of King Henry VIIIon the background was to emphasize religious impression.

In <Fig. 6> King Henry VIIIis wearing a cassock, a loose but moderately-fitted fur-lined coat with high neck on a doublet made of gold threads. His head was covered with a black bonnet that came in those days to cover hair that become thin. The king is grasping a stick in his left hand and holding gloves in right hand. The painting expresses an impressive and considerably solid image created by the combination of rich fabrics, fur included in layers of clothes, king’s body size etc (Hayward & Ward, 2012).

<Fig. 7> is a portrait owned by the Royal College of Surgeons in London. The appearance of King Henry VIIIpainted like an barber and surgeon who doubled the job of surgeon according to the barberrespecting custom of the days shows that Henry VIIIconsidered techniques of barbers who handle hair style for his great interest in appearance and recognized surgeons with skills treating human life very important. The paint also shows that Henry was very open as much as he allowed painting himself with a barber in a portrait, and he widened the boundaries of activity with interest in various aspects than any other kings of England did. In king’s costume, red band encircling the waist, red hose and slashed red shoes symbolize passionate activity of the king. On the foot carpet that the edge is worn out, palm leaf shapes are embroidered. Details of <Fig. 7> expressed accurately through an infrared system are expressing noblesse of king as scrollwork embroidery on the doublet skirt worn by King Henry VIIIand details of sleeves decorated with slash and jewels are expressed in great detail (Hayward, 2007).

2.Masculinity

<Fig. 8> is a full-face portrait of King Henry VIIIpainted by the court painter Holbein. Full-face portraits were able to be painted after protestants appeared in the 16^th century (Kimura, 2007/2012). The portrait is the best work of all portraits of the kings of England as it embodied the most ideal figure of king amongst the ones that painted King Henry VIIIof England. In the portrait, various aspects of king were expressed in a symbolic way. In 1534, the Church of England was established and protestants prohibited iconolatry but the portrait of King Henry VIIIrepresents through the appearance of King Henry VIIIfacing forward resolutely that England is the country of the Established Church and king is the greatest in England irrespective of religion and politics. In the portrait, masculine attractiveness that cannot be seen in other portraits is the most distinctively magnified. The portrait shows masculine beauty of king by horizontal lines of broad and voluminous shoulders exaggerated by pads crossing the portrait, and highlights masculine beauty aggressively by emphasizing male sexual symbol and passion by expanding male genital organ through a codpiece. A red mantle worn outside expresses his energetic passion and the buoyant appearance that the king is standing commandingly spreading his legs and staring at front shows orotund masculine beauty with dignity. The portrait shows a sense of volume breaking from existing flat and plain shape of a monarch. In addition, the appearance of King Henry VIIIputting on broad-brimmed hat decorated with feather (Go, 2008), and wearing a sable-lined and gold thread-decorated red velvet on a doublet ornamented with slash and puff is symbolizing the authority of king through luxurious fabric materials and ornaments. In the portrait, splendid costume is emphasized by using high-priced gold and silver leaves to express the authority of king, and exaggeratedly broad shoulders and the posture of King Henry VIIIthat is standing imposingly and squarely is also showing his drastic political power in a symbolic way.

In <Fig. 9> that King Henry VIIIis painted with Prince Edward, Jane Seymour, his masculine beauty is more dignified through horizontal lines of shoulders crossing the costume, voluminous shoulder exaggerated by pads and especially a codpiece which is emphasized as located in the center of portrait, the image that the king is putting his legs on cushion is showing the authority of king.

3.Innovation performance

In <Fig. 10>, a protestant religious reformer Hugh Latimer of England is dedicating the Bible to King Henry VIIIinsead of a bag filled with gold which was common in those days. The painting shows importance of reformation by making a religious reformer appear, and emphasizes innovative aspect of King Henry VIII. Through the scene that King Henry VIIIis subduing the Roman Catholic Pope, <Fig. 11> are symbolizing an innovative reformation that King Henry VIIIis capable of suppressing a sovereign ruler of Catholic.

4.Artistic taste

During the reign of King Henry VIII, significance of music reached the climax. Especially, King Henry VIIIhimself was a trained and completed musician. <Fig. 12> that painted Henry VIIIplaying a harp is very well expressing musical talent and artistic taste of king. The painting represents that King Henry VIIIwas excellent in martial arts and had a keen interest in music with profound knowledge of art as much as playing a harp. The portrait is also showing King Henry VIII’s free and open disposition as much as he allowed to be painted with an entertainer Will. In general, other portraits or paintings of king mainly emphasized dignity and authority to maintain dignity of king, but many other aspects are shown in the portrait of Henry VIII.

5.Intellectual charm

In <Fig. 13>, the image of king reading a book in the bedroom is symbolically expressing intellectual aspect of king with comprehensive knowledge of literature as well as martial arts. The painting that the king is reading a book is emphasizing intellectual aspect of king by symbolizing his academic interest with his erudition. King Henry VIIIis wearing a red gown decorated with fur on the golden doublet and light brown hose (Hayward, 2007). <Fig. 14> is reflecting the features of costume of the Renaissance age in the early 16^th century by showing the image of King Henry VIIIwearing a doublet with low neck line and shoulder lines that are not too broad in his youth before ascending to the throne. King Henry VIIIis described as an oval face and a sharp jaw line to stand for an intellectual mood with keen and intelligent mood.

6.Intrepidity

<Fig. 15> is a scene that King Henry VIIIis celebrating the birth of his son by taking part in knights’ tournament with an ornamental harness to impress his first wife Catherine (Hayward & Ward, 2012). King Henry VIII’s initial is embroidered on the cloth covering the horse. <Fig.15> shows that King Henry VIIIwas excellent in martial arts as much as he participated in knights’tournament in person, highlighting his intrepidity very well. <Fig. 16> shows the image of King Henry VIIItaking part in the competition under a moving tent for tournament. The tents used for keeping arms equipment for special events such as knights’tournament which was held 1511 times for celebrating the birth of King Henry VIII’s son were made very luxuriously of high-quality silk and cloth textured with gold threads. While three out of four pavilions were made of blue and scarlet damasks, King Henry VIII’s was made splendidly and luxuriously of fabric woven with blue velvet and gold threads. In addition to initial sentences painted on the tent to indicate royal family, use of fabric woven with precious velvet and gold threads also symbolize the authority of king (Hayward & Ward, 2012). In <Fig. 17>, the image in which he shoots an arrow also implies his deep interest in martial arts as well as his remarkable ability.

7.Benevolence

<Fig. 17> is a family portrait copied again around 1650-1680 after the original painted in 1545-1550 disappeared. King Henry VIIIand Will Somers, Edward, Mary, Elizabeth are painted in order in the portrait. A benevolent image with catholicity of defending the people as a ruler of one country is conveyed by creating an unauthoritative portrait with a strong humane feeling and expressing loving image with a warm heart. In this portrait, the king is emphasizing family love by posing with his children rather than showing authoritative side. <Fig. 18> is also showing King Henry VIII’s free and open disposition as much as he allowed to be painted with an jester Will Somers in family portrait.

V.Conclusion

Results of study on the symbolic meaning shown in the painting focusing on the portrait of King Henry VIIIare as follows. Historically, King Henry VIIIis sometimes recognized as a cruel king with a roving eye, but his authority, masculine beauty, innovation performance, artistic taste, intellectual charm, intrepidity and benevolence were emphasized in this study, expressing his various aspects symbolically. In paintings of the kings of England, others were mainly painted as formal and authoritative images.

The portrait of King Henry VIII, however, symbolized innovative reformation that cannot be seen in any other kings by putting up a religious reformer or through the image of subduing the Roman Catholic Pope. The portrait expressed authority through bluecolored background symbolizing stability and dignity, equating with Solomon, royal family pattern, marten hairs, dignified figure etc. Especially, the portrait of King Henry VIIIsymbolized his masculine beauty by emphasizing sexual attractiveness that cannot be seen in portraits of other kings through broad shoulders and exaggerated codpiece which are the zenith of masculine beauty during the Renaissance age. Through the image of King Henry VIIIwhich was painted with entertainers or barber surgeons, his characteristic and open mind thinking highly of the technique and human life was also expressed. In the portrait of King Henry VIII, various images set in knights' tournament, playing a musical instrument and reading a book as well as the image of wearing a parliament costume were shown, highlighting King Henry VIIIas a person good at both literary and martial arts with open and innovative personality than any other kings in history. While previous studies on the portrait of King Louis ⅩⅥ emphasized his benevolentness and nobility, the portraits of Henry expressed differentiated symbolism through his innovative aspect, masculine beauty and intrepidity as well as authoritative image. Before the governance by Henry VIII, European lords utilized a common image of a figure in the Bible and compared it to themselves. However, Henry was analyzed to connect himself through intensive and intimate metaphor by reinterpreting characteristics of persons in the Bible and selecting specific images of the persons.

As for limitations of the study, there was a difficulty in focusing on a single and distinct image as various symbolic images were complexly shown in a portrait, but this study included the most magnified image in the range of symbol amongst various symbols expressed in the portrait. It is considered that future studies need to research into the differences among portraits of different countries painted at the same period of time by comparing and analyzing portraits not only of the kings of England but of the kings of France during the Renaissance age.