朝鮮後期 王室 嘉禮用 屛風 硏究

다국어 초록 (Multilingual Abstract)

This is an integrated study of screens made and used for royal wedding ceremonies. Screens for royal wedding ceremonies are the screens which is put in the places of this ceremonies. These encompasse not only the places where the ceremonies are held but also the places in which the bride and groom stay.
There has not been any study on the screens for royal wedding ceremonies. As the focus of the existing studies has been brought on Uigwe (儀軌), no analysis has been made on the screens for wedding ceremonies of the classes lower than crown prince. The screens used for wedding ceremonies of princes, princesses, and concubines that are not recorded by Uigwe are recorded in royal documents such as Deungnok (謄錄) and Ilgi (日記). This study took notice of this and investigated the history of making and using screens recorded in Garyedeungnok (嘉禮謄錄) to include the wedding ceremonies of princes, princesses, and concubines to the scope of research. And this study was made for the way screens function, being correlated with the ceremonies or spaces where such ceremonies are held.
The fact the procedures and size of wedding ceremonies differed depending on the royal class is well shown on The Five Rites of the State (國朝五禮儀), Revision of the Five Rites of the State (國朝續五禮儀), and Manual of Royal Wedding Ceremonies (國婚定例). Manual of Royal Wedding Ceremonies especially deals with the types and sizes of objects used for wedding ceremonies. It shows that the use of screens for wedding ceremonies are substantially changed on the basis of this books and that the quantity and size of screens varied from royal rankings.
The documents that recorded wedding ceremonies, including 20 volumes of Uigwe, 22 of Deungnok, and 1 of Ilgi demonstrate how screen was used according to the books on etiquette (儀禮書). It shows that the wedding ceremonies had similarity by class in the use of screens between king and crown prince, between prince and concubine, and between princesses. Then they were classified into three categories by time. The 1st period starts from the year the oldest Uigwe of wedding ceremony was written and ends with the enactment of Manual of Royal Wedding Ceremonies. The 2nd period starts after the enactment of Manual of Royal Wedding Ceremonies and ends with the King Jeongjo (正祖, r. 1742-1800)'s resignation, while the 3rd period falls into the 19th century.
Wedding ceremonies, spaces, and screens placed in the spaces are interrelated. On the basis of this idea, this study was made for the characteristics and functions of screens installed in each space, classifying the spaces for wedding ceremonies into Byeolgung (別宮), Jeongcheong (正廳), Palace, and Dongroeyeoncheong (同牢宴廳) according to the order of ceremonies and their underlying meanings.
Byeolgung, so-called detached palace, which stands in the middle of palace and private residence, is where the bride prepares herself to be a member of royal family. Various screens for decoration widely used in a palace in the 19th century such as Banquet of Guo Ziyi (郭汾陽行樂圖), Hundreds of boys (百童子圖), and Immortals’ Feast on Yoji Pond (瑤池宴圖) used to be installed in the Byeolgung. That these pictures were suddenly employed in the wedding ceremony of King Sunjo (純祖, r. 1790-1734) shows substantial influence of the trend of general people in late 18c.
Jeongcheong of Byeolgung and palace, the space where the wedding ceremony takes place, is decorated with screen of peonies (牧丹圖) to add up the ceremonial character. Although screen of peonies is a ceremonial object widely used in royal ceremonies, there has not been any research of specific case of using in the wedding ceremony. For the first time, I found the actual cases of screen of peonies used in the wedding ceremonies from the Garyedeungnok of prince and princess.
In Dongroeyeoncheong, the most important space for wedding ceremony with the meaning of tying the knot, decorative painting screens are chosen such as Ten Symbols of Longevity (十長生圖) until mid 18c. However, according to the Manual of Royal Wedding Ceremonies reenacted by King Yeongjo (英祖, r. 1694-1776) who laid emphasis on frugality, white screens (素屛) started to be placed in the late 18c. I also found that the screens of Ten Symbols of Longevity usually placed in Dongroeyeoncheong until mid 18c changes the function from wedding ceremony to royal banquet in the early 19c. It was placed behind the host of banquets to symbolize his/her status in the event.
This study inquires into how painting was made and used in the royal wedding ceremonies through a medium called screen and takes note of symbolic characters of screen in the ceremony and in the space where such ceremony is held to probe into the correlation between ceremony and painting as well as multi-level context of royal painting in and out of ceremonies. It is designed for in-depth understanding in the royal decorative painting, beyond mere understanding in the characteristics and functions of royal screen painting, through an assertion that the theme of screen is selected under highly systematic intention.

국문 초록 (Abstract)

이 논문은 왕실의 가례(嘉禮)를 위해 제작, 사용된 병풍(屛風)을 종합적으로 고찰한 연구이다. 가례용 병풍이란 가례를 행하는 장소를 장엄한 병풍과 신랑, 신부가 머무는 거처 등 가례 전체에 관련된 공간을 장엄한 병풍을 지칭한다.
지금까지 왕실의 가례용 병풍을 단독 주제로 삼은 연구는 없었다. 의궤(儀軌) 위주로 연구가 이루어졌기 때문에 세자 이하 계층의 가례용 병풍에 대한 분석 또한 이루어진 적이 없었다. 의궤로 편찬하지 않은 왕자, 왕녀, 후궁의 가례에 쓰인 병풍은 등록(謄錄)과 일기(日記) 류의 왕실 문헌에 기록되어 있다. 본고는 이에 주목하여, 최초로 가례등록에 기록된 병풍을 제작하고 사용한 내역을 모두 조사하여 왕자와 왕녀, 후궁의 가례까지 연구의 범위에 포함시켰다. 이에 더하여 병풍이 의례 및 그 의례를 치르는 공간과 긴밀하게 결합하여 기능하는 방식을 고찰하였다.
가례의 절차와 규모가 왕실의 계층에 따라 달랐다는 사실은 『국조오례의(國朝五禮儀)』(1474, 성종 5)와 『국조속오례의(國朝續五禮儀)』(영조 20), 『국혼정례(國婚定例)』(1749, 영조 25)에서 드러난다. 특히 『국혼정례』에는 가례용 의물(儀物)의 종류와 규모가 기록되어 있는데, 그 중에서도 가례용 병풍의 사용이 『국혼정례』에 근거하여 크게 바뀌었으며 왕실의 서열에 따라 병풍의 수량과 크기를 차별하도록 규정하였다는 사실을 밝혀냈다.
의궤 20건과 등록 22건, 일기 1건 등 가례를 기록한 문헌에는 의례서에 근간하여 실제로 병풍의 사용을 집행한 내역이 기재되어 있다. 이 문헌을 모두 조사한 결과 병풍의 사용 양상은 계층에 따라서 왕과 세자의 가례, 왕자와 후궁의 가례, 왕녀의 가례가 비슷하였다는 사실을 알아냈다. 시기별로는 총 세 시기로 구분했다. 제1기는 현존하는 최고(最古)의 가례도감의궤가 기록된 해(1627)부터 『국혼정례』 제정 이전까지, 제2기는 『국혼정례』 제정 이후부터 정조대(1800)까지, 제3기는 19세기로 구분된다.
가례와 공간, 그리고 공간에 배설된 병풍은 서로 밀접하게 영향을 주고받는 관계에 있다. 이러한 개념을 기초로 가례 공간을 의식이 진행되는 순서와 의식이 가지는 의미에 따라 별궁, 별궁의 정청(正廳)과 궁궐, 동뢰연청(同牢宴廳)으로 분류하여 각각의 공간에 설치되는 병풍의 성격과 기능을 살펴보았다.
신부가 왕실의 일원이 되기 위해 준비하는 공간인 별궁(別宮)은 왕실과 사가(私家)의 중간적 성격을 가진다. 이곳에는 〈곽분양행락도(郭汾陽行樂圖)〉, 〈백동자도(百童子圖)〉, 〈요지연도(瑤池宴圖)〉 등 19세기에 왕실에서 널리 쓰이던 장식용 병풍이 설치되었다. 이 그림들이 1802년 순조(純祖)의 가례에 갑작스럽게 사용되기까지는 당시 이 그림들을 함께 혼인에 사용했던 18세기 후반 민간의 풍조의 영향도 존재한다.
가례 의식이 실제로 진행되는 공간인 별궁의 정청과 궁궐에는 모란병을 놓아 공간에 의례적 성격을 더했다. 모란병은 왕실 의례에서 일반적으로 배설되는 의물이었지만 가례에서의 구체적인 사용례는 밝혀진 바가 없었다. 본고에서는 왕자와 왕녀의 가례등록에 기록된 모란병의 배설 상황을 최초로 발견하여 가례의 제반 의식 곳곳에 모란병이 배설되었음을 밝혔다.
부부의 연을 맺는 의미를 지녀 가례에서 가장 중요한 의식인 동뢰연청에는 18세기 중반까지는 〈십장생도(十長生圖)〉와 같이 장식성이 강한 그림이 배설되었으나, 검소함을 강조하는 영조에 뜻에 의거하여 제정된 『국혼정례』 의 규정에 따라 18세기 후반에는 소병(素屛)이 배설되었다. 또한 18세기 중반까지 동뢰연청에 설치되었던 〈십장생도〉 병풍은 19세기에 이르면 가례에서 연회로 쓰임새가 이동하였다는 사실을 밝혀냈다. 〈십장생도〉 병풍은 연회의 주빈(主賓) 자리에 배설하여 그들이 가진 위차(位次)의 권위를 상징했다.
본 연구는 왕실의 가례에서 회화가 병풍이라는 매체를 통해서 어떤 방식으로 제작, 사용되었는가와 병풍의 화제가 의례 및 의례 공간 안에서 획득한 상징성에 주목함으로서 의례와 회화의 밀접한 관련성, 나아가 왕실 회화가 의례의 안팎에서 가지는 다층적 맥락을 고찰하였다. 고도로 체계화된 의도 아래 병풍의 화제가 선택되었다는 주장을 통해 왕실 가례용 병풍화의 기능과 성격에 대해 파악하는 것에서 나아가 왕실의 장식화에 대한 깊이 있는 이해를 성취할 수 있는 계기를 만들고자 하였다.

목차 (Table of Contents)

• Ⅰ. 머리말 ·················································································· 1
• Ⅱ. 왕실 가례의 병풍 ·································································· 8
• 1. 왕실 가례의 종류와 절차 ······················································· 9
• 2. 의례서에 기록된 병풍 ·························································· 14
• 1) 『국조오례의(國朝五禮儀)』, 『국조속오례의(國朝續五禮儀)』에 기록된
• 병풍 ················································································· 14
• 2) 『국혼정례(國婚定例)』에 기록된 병풍 ···································· 17
• Ⅲ. 가례용 병풍의 제작과 사용 ··················································· 21
• 1. 왕 · 세자 가례의 병풍 제작과 사용 ······································· 23
• 1) 19세기 이전 ······································································ 23
• 2) 19세기 이후 ······································································ 30
• 2. 왕자 · 후궁 가례의 병풍 제작과 사용 ···································· 34
• 1) 19세기 이전 ······································································ 34
• 2) 19세기 이후 ······································································ 37
• 3. 공주 · 옹주 가례의 병풍 제작과 사용 ···································· 40
• 1) 19세기 이전 ······································································ 40
• 2) 19세기 이후 ······································································ 43
• Ⅳ. 가례 공간과 가례용 병풍 ······················································ 51
• 1. 별궁의 공간적 성격과 병풍 ··················································· 53
• 1) 별궁 내실용 병풍 ······························································· 53
• 2) 별궁의 정청과 궁궐용 병풍 ················································· 62
• 2. 동뢰연청의 공간적 성격과 병풍 ············································· 64
• 1) 동뢰연청 배설용 병풍 ························································· 64
• 2) 19세기 〈십장생도〉 병풍의 새로운 기능 ································ 67
• Ⅴ. 맺음말 ················································································ 85