張玉真（張禧嬪）在朝鮮歷史上的地位極為複雜，她的人生充滿權力鬥爭、宮廷陰謀與悲劇色彩。她出生於宮女，憑藉美貌、聰慧與手段逐步獲得肅宗的寵愛，最終一度被立為王后，並育有世子，這使她在朝廷內部擁有一定影響力。然而，她的崛起也伴隨著激烈的政治衝突，特別是在西人黨與南人黨之間的黨爭中，她與仁顯王后及其勢力對抗，一度將仁顯王后廢黜，但隨之而來的宮廷陰謀與陷害，使她最終失勢，被降為嬪。

張玉真在歷史上被貼上「妖女」的標籤，這與她在宮廷中的作為密切相關。她排擠其他妃嬪、結黨營私，並被指控利用巫蠱之術傷害仁顯王后，因此與張綠水、金介屎並列為朝鮮三大妖女。這種形象在史書記載中常帶有誇張與道德批判色彩，使她成為權力鬥爭中的負面象徵。然而，她的人生悲劇同樣值得關注：最終被賜死，但其子繼位後追尊她為「玉山府大嬪」，這既體現她在政治鬥爭中的悲劇命運，也顯示後世對她功績與地位的重新肯定。

在現代韓國社會與影視作品中，張玉真的形象更趨多元化。歷史劇如《張玉貞，為愛而生》以及《同伊》等，對她進行情感化與人性化的演繹，呈現她作為一名在宮廷陰謀與封建制度下掙扎求生、追求愛與家庭的女性，而不僅是單純的「妖女」。這些作品讓觀眾理解，她的命運既是個人選擇的結果，也深受社會與階級結構限制的影響。現代學者與評論者多強調，張禧嬪不僅是權力鬥爭的受害者，也是朝鮮封建體制下努力求存、試圖掌握自身命運的女性代表。

總體而言，張玉真（張禧嬪）是朝鮮歷史上一個充滿戲劇性、爭議性且被深刻文化化的人物。她既是權力鬥爭的中心角色，也是後世影視文化與歷史研究中持續討論的對象。她的人生故事集美貌、智慧、野心、悲劇於一身，使她成為朝鮮歷史與文化中極具象徵性與多層次的歷史符號。

Jang Hui-bin (Jang Yu-jeong) occupies an extraordinarily complex position in Korean history, with a life marked by power struggles, palace intrigue, and tragedy. She began her life as a palace maid, but through her beauty, intelligence, and strategic acumen, she gradually gained the favor of King Sukjong, eventually being installed as queen and giving birth to the heir apparent. This elevated her influence within the court, yet her rise was accompanied by intense political conflict, particularly within the factional struggles between the Westerners (Seoin) and Southerners (Namin). She once succeeded in deposing Queen Inhyeon, but the ensuing conspiracies and court machinations ultimately led to her downfall, her demotion to concubine, and her eventual execution.

Historically, Jang Hui-bin was labeled a “bewitching woman” (yomnyeo), largely due to her actions within the palace. She was known for marginalizing other concubines, forming factions, and being accused of using witchcraft to harm Queen Inhyeon. This reputation placed her alongside figures like Jang Nok-su and Kim Gae-si as one of the “Three Bewitching Women of Joseon.” Such portrayals in historical records often carried exaggerated moral judgments, framing her as a negative emblem of palace power struggles. Nevertheless, her life was undeniably tragic: although executed, her son later ascended the throne and posthumously honored her as “Grand Consort of Yuksan,” reflecting both the tragedy of her political fate and the subsequent recognition of her significance.

In modern Korean society and popular media, Jang Hui-bin’s image has become more nuanced. Historical dramas such as Jang Hui-bin: Born for Love and Dong Yi portray her with emotional depth and humanity, showing her as a woman navigating palace intrigue and a rigid class system, striving to survive and pursue love and family. These portrayals move beyond the simplistic “bewitching woman” label, emphasizing that her fate was shaped not only by her personal choices but also by societal and structural constraints. Contemporary scholars and commentators increasingly recognize her as both a victim of political struggles and a representative of women striving to assert agency within Joseon’s patriarchal and hierarchical society.

Overall, Jang Hui-bin (Jang Yu-jeong) stands as a highly dramatic, controversial, and culturally resonant figure in Korean history. She was at the center of palace power struggles, yet she also remains a recurring subject in historical scholarship and media, her life story blending beauty, intelligence, ambition, and tragedy into a multifaceted symbol within Joseon history and culture.