This study examines Musin Chinch’ando (戊申進饌圖, a screen depicting the banquet of the Musin year, 1848), commissioned by King Hŏnjong (憲宗, r. 1834-1849) to commemorate the sixtieth birthday of Grand Queen Dowager Sunwŏn (純元王后, 1789-1857), and argues that court banquet paintings functioned not merely as documentary records but as visual devices that constructed political meaning. The Musin chinch’an (進饌, court banquet) was a composite ritual that combined the birthday banquet of Grand Queen Dowager Sunwŏn with the conferral of honorific titles upon Sunjo (純祖, r. 1800-1834) and Ikchong (翼宗, 1809-1830), the preceding kings. This configuration reflected Hŏnjong’s political intention to consolidate authority after the end of the queen dowager’s regency, while simultaneously asserting both the legitimacy of the dynastic succession and the autonomy of his kingship.The Directorate for the Banquet (chinch’anso) was composed of established meritorious officials (sesin) from the reigns of Sunjo and Ikchong, members of the queen dowager’s affinal kin group (ŏch’ŏk), as well as newly appointed officials selected by Hŏnjong. The emphasis on their affiliations with the Ch’ongwiyŏng (總衛營, royal guard command) and the Kyujanggak (奎章閣, Royal Library) symbolically represented the close attendant faction that Hŏnjong sought to cultivate.Musin chinch’ando expands the scope of ritual representation by incorporating scenes of chinha (陳賀, congratulatory rite), chinch’an (進饌, court banquet), and hoejak (會酌, court audience). Through this expanded pictorial program, the painting presents Hŏnjong in a staged and sequential manner—as the legitimate heir to the royal lineage, as the successor to the queen dowager, and as the sovereign of his officials. Furthermore, its three-tiered composition and converging perspective toward the upper register articulate both a hierarchical spatial order and a heightened sense of realism. Ultimately, this work may be understood as a court banquet painting that symbolically structures political relationships reorganized around Hŏnjong within a systematic ritual framework and a unified visual form.