As a documentary painting from the Joseon Dynasty, Banchado (rank-positioned procession painting) reveals a strongly schematic and conservative tendency as it was generally produced in accordance with preceding traditions. In the early nineteenth century, the Joseon Dynasty can be characterized by weakened royal authority, political domination by influential families, and intensified social injustices. However, Banchado produced during this period features the grandest procession in the entire history of Uigwe Banchado (Banchado included in Uigwe, Records of the State Rites) and the highest level of compositional completeness, precision and refinement. This article aims to highlight the notion that such characteristics are resulted from the distinct nature of royal rites and the royal paintings during this period. Firstly, the reign of King Sunjo saw the arrangement of royal funeral ceremonies on a grand scale according to royalist ritual traditions. It resulted in the special production of a number of Banchado depicting funeral ceremonies. Sunjo’s strong determination played a pivotal role in the creation of the series of Buna Banchado (official Banchado used as a practice manual). Including the Buna Banchado produced during the funerals of King Sunjo’ s grandmother Lady Hyegyeong, the Buna Banchado for the funerals of his own mother and royal concubine Lady Park, and Prince Hyomyeong are produced on a large scale.