가구산업의 - 신제품 개발 아이디어 평가 모형에 관한 연구

장경희,정우양 ( Kyung Hee Jang,Woo Yang Chung ) 한국목재공학회 1995 한국목재공학회 학술발표논문집 Vol.1995 No.-

14世紀의 高麗 梁織 硏究

張慶姬(Jang Kyung-hee) 한국미술사학회 1991 美術史學硏究 Vol.- No.190·191

조선후기 정종 후릉(厚陵)의 수개와 그 영향

장경희 ( Jang Kyung Hee ) 한서대학교 동양고전연구소 2018 동방학 Vol.38 No.-

본고는 조선 제2대 정종(定宗)과 그의 비 정안왕후(定安王后) 김씨의 무덤인 후릉을 연구의 대상으로 삼아, 후릉이 조선 후기에 어떤 영향을 미쳤는지 다음과 같이 밝혀 보았다. 첫째, 숙종은 정종을 조선 제2대 국왕으로서 정통성을 인정하였다. 그의 사후 300여 년이 지나 숙종은 정종이라는 묘호를 올렸고, 국왕의 상징물을 제작했으며 왕실 사당에서 제사를 드릴 수 있게 되었다. 둘째, 조선 숙종은 1692년 후릉을 수리한 후 1693년 친행하였다. 이에 따라 후릉의 구조나 배치, 수량 및 크기 등이 주목을 받았고, 이후 다른 왕릉을 조성할 때 전례로써 참고하였다. 1698년 숙종은 ‘단종’에게 묘호를 올리고, 1699년 단종의 장릉(莊陵)과 정안왕후의 사릉(思陵)을 추봉 하였다. 아울러 숙종 계비 인현왕후의 명릉(明陵)을 조성할 때에도 후릉을 전례로 삼았다. 셋째, 후릉은 숙종 말기에 조성된 왕릉의 양식에 영향을 끼쳤다. 후릉은 단종의 장릉과 정순왕후의 사릉을 비롯하여 숙종의 명릉, 경종의 의릉 및 숙종의 세 번째 왕비인 인원왕후의 명릉을 조성할 때에도 영향을 끼쳤다. 특히 이들 왕릉은 후릉의 석조각을 참고하여 만들었기 때문에, 왕릉의 석인상들은 170㎝의 등신대로서 전후 시기의 것보다 50-80㎝ 정도로 작았다. 한편 양식적으로는 조각이 섬세하고 표정이 사실적인 경향을 엿볼 수 있다. 이처럼 정종의 후릉은 비록 조선 초기의 국왕이고 왕릉임에도 불구하고 숙종에 의해 재발견되어 17세기 말 18세기 초 왕릉의 양식에 영향을 끼쳤음을 알 수 있다. The Joseon dynasty referred to royal tombs from the previous period as precedents whenever it established the royal mausoleum. In the meantime, the number of the royal tombs to be referenced was increased in the second half of the Joseon Dynasty, which expanded the range of choice. Regarding this, the study was focused on examining when, by whom, how and why Hureung, the royal tomb for King Jeongjong, the second king of the Joseon Dynasty, and his wife, was referenced in the late Joseon Dynasty. The result of the study can be summarized as follows. First, King Sukjong recognized King Jeongjong as a legitimate king of the Joseon Dynasty. King Jeongjong reigned for two years from 1398 to 1400, but his legitimacy failed to be recognized by later kings. It is well demonstrated by the fact that he was called as ‘Gongjeong Daewang’ instead of a shrine-title for more than 300 years after his death. At a time of compiling a genealogical table, King Sukjong, the 19th king of the Joseon Dynasty, granted him such a shrine title as ‘Jeongjong,’ made symbolic icons and allowed ancestral rites in the royal shrine. Second, King Sukjong visited Hureung for King Jeongjong for the first time in the late Joseon Dynasty. When a king decided to visit a royal tomb, it was customary to maintain structures or stone sculptors of a royal tomb and establish facilities in advance. Since Hureung was located in Gaeseong far away from Hanyang, it was a rarity for a king to pay a visit in person, but various repair works were conducted in 1692 before King Sukjong visited it in person in 1693. It drew a lot of attention to the structure, arrangement, quantity and scale of Hureung and became known to many people. Third, Hureung was referenced as a precedent at a time of establishing other royal tombs at the end of King Sukjong. First of all, the 7th king of the Joseon Dynasty who had not been reinstated after dethronement until that time was called ‘Nosangun,’ and in 1698, King Sukjong granted him such a shrine-title as ‘Danjong’ following King Jeongjong’s example. From 1698 to 1699, he elevated a tomb for King Danjong and his wife to a royal tomb by following precedents. In the meantime, King Sukjong also referenced Hureung as a precedent at a time of establishing Myeongreung, a royal tomb for Queen Inhyeon, the second wife of King Sukjong. Fourth, Hureung had effects on the styles of royal tombs established in the late period of King Sukjong. It also influenced not only King Danjong’s Jangreung and Queen Jeongsun’s Sareung but also King Sukjong’s Myeongreung, King Gyeongjong’s Uireung and Myeongreung for Queen Inhyeon, the second wife of King Sukjong. In particular, since these royal tombs were established in reference to stone sculptures of Hureung, stone statutes in the royal tombs were mostly full-size statutes that are about 170㎝ in height, which was 50 to 80㎝ shorter than others. In the meantime, they exhibited delicate sculptures and realistic expressions in terms of style. Although Jeongjong was a king in the early Joseon Dynasty, and Hureung was his royal tomb, it was rediscovered by King Sukjong to influence the styles of royal tombs in the late 17^th century and the early 18^th century.

조선시대 철물 제작 장인 연구

장경희(Jang, Kyung-hee) 한국조형디자인학회 2014 조형디자인연구 Vol.17 No.1

조선시대에 철을 만들고 기물을 만드는 기술은 나라를 다스리는 핵심 산업이었다. 그러므로 국가는 철을 채취하거나 철제 기물을 제작하는 장인을 관청에 소속시켜 관리하였다. 그 중 철을 단조하거나 주조하는 장인들은 시기에 따라 처지나 작업방식이 달라졌는데, 그 사실을 정리하면 다음과 같다. 첫째, 조선시대 철을 만드는 장인이 있었고, 철물을 제작하는 장인이 있었다. 그중 철물은 단조와 주조로 구분되었다. 단조는 대장장이가 작업했다. 주조는 쇳물을 붓는 주장(注匠)과 기물을 만드는 장인은 주장(鑄匠)으로 공정이 세분화되었다. 또 화폐ㆍ활자ㆍ가마솥 등 만드는 물품에 따라 장인을 부르는 명칭도 다양하였다. 둘째, 철물의 제작 시스템은 가마[爐]를 중심으로 여러 명이 협업하는 것은 공통되나, 시기마다 장인의 처지는 달라졌다. 17세기의 장인은 서울이나 지방에서 동원했고, 그들 중 일부는 장인 가문을 형성했다. 18세기에 장인은 전문 관청이나 군대에 소속되었다. 하지만 18세기 후반에 장인은 국가의 속박에서 벗어나 사사로이 공방을 만들고 점포를 경영했다. 셋째, 철물의 제작 양태는 조선 후기 풍속화를 통해 알 수 있었다. 대장장이는 가마를 중심으로 1명이 풀무질을 하면, 2~3명이 달군 쇠를 두드려 낫이나 망치를 만드는 기술이었다. 반면 주조장인은 가마를 중심으로 2명이 풀무질하면, 1명의 주장(注匠)이 도가니에 쇳물을 녹이고, 2명이 거푸집에 부어 가마솥 등을 만드는 기술이었다. 이처럼 조선시대 철물을 제작하는 장인에 대한 연구를 통해 그들의 전통기술에 대한 공예사적 이해가 확산되길 기대한다. 아울러 철광 산업을 비롯한 경제사나 무기나 무쇠솥의 생산 등 산업사 분야에도 기여하길 바란다. In Joseon Dynasty, the technology to make iron and utensils was the core industry that controled the country. Thus, the country made the craftsman, who pick iron or manufacture iron utensils, belonged to the government agency, and thereby managed them. Among them, the status or work method of the craftsman, who do the work of forging or casting, changed, depending on the times. The details are arranged as follows; First, there were the craftsman who made iron and the craftsman who manufactured ironware, in Joseon Dynasty. Among them, ironware was divided into forging and casting. Forging was done by blacksmiths. The process of casting work was divided in detail into the artisan who pours melted iron and the artisan who makes utensils. In addition, there were many titles about the craftsman, depending on the ironware such as coin, printing type and cauldron. Second, in regard with ironware manufacturing system, it was common that several craftsman cooperated together working around the kiln, but the artisan's status changed, depending on the times. In the 17th century, the craftsman were mobilized from Seoul or local areas, and among them, some craftsman formed the artisan families. However, in the second half of 18th century, the craftsman escaped from the country's restriction, privately made the work places and ran their shops. Third, we could see the aspects of ironware manufacturing through the genre paintings of the latter period of Joseon Dynasty. As for blacksmith, if a blacksmith worked a bellows around the kiln, two or three workers struck the heated iron and then manufactured sickle or hammer. As for casting artisan, if two workers worked a bellows around the kiln, one worker melted iron in the kiln, and two workers poured it into the cast, thereby manufactured cauldron or vessel. Thus, the author hopes that the understanding on the traditional technologies of blacksmiths and casting craftsman can be expanded, through this study. Furthermore, the author hopes that this study can also contribute to the economy history of iron ore industry or the industry history of arms or cauldrons manufacturing.

正祖代 景慕宮의 왕실공예품 연구

장경희(Jang, kyung-hee) 한국조형디자인학회 2009 조형디자인연구 Vol.12 No.2

The Joseon Dynasty aimed to practice the Confucian principles as national policies and rule the state according to the Confucian ideals. The first and foremost basic Confucian principle was a national religious service[吉禮], which was performed by the incumbent king for his predecessor and which was to widely demonstrate that the royal authority had been inherited securely and rightfully. In the Confucian dynasty, only kings and queens could be enshrined in the royal shrine[宗廟] and be given national religious sacrifices there[王陵]. It is why the kings who was born of a concubine made every effort to posthumously enhance the position of his biological parents to that of legitimate kings or queens so that they might be enshrined in the royal shrine. In case that was impossible, the kings vehemently attempted to construct a separate shrine[別廟] or tomb[園] almost equal to the royal shrine and splendidly offer religious sacrifices to their parents laid in rest there. The Gyeongmogung[景慕宮] was a shrine constructed by King Jeongjo in commemoration of his father who was victimized in the vortex of political power games, and the 'Yeongwoowon[永祐園]' is a tomb for Crown Prince Sado[思悼世子] his father. Jeongjo prepared the Gyeongmogung which are the procedures for worshipping at the two said places and he also written a book called the ‘Collection of the Ceremonies at the Gyeongmogung[景慕宮儀軌]’ which are the records related to the places. The book comprises pictures and detailed descriptions about the layout of the buildings and the rigging and figures kept in the buildings, and the dishes used for sacrificial rites. This the current thesis has compared the modes of the craft-works used at the Gyeongmogung with those used at the royal ancestral shrine and comprehensively investigated into the relations between the craft-works at the Admiration Palace with the existent relics displayed in Museom of National Palace. The findings include that the craft-works used at the Gyeongmogung are the visual symbols to show the legitimacy of the enthronement of King Jeongjo and the endeavors made by Jeongjo to have his father get his revenge and that the craft-works are the essence of the cultures of the royal family in the latter term of the Joseon Dynasty which is called the period of the renaissance of the Korean traditional cultures.

조선후기 王室祭器 鑄成 鍮器匠연구

장경희(Jang, kyung-hee) 한국조형디자인학회 2008 조형디자인연구 Vol.11 No.2

The Joseon Dynasty, a Confucian state, decided to rule the nation on the principle of courtesy, and the events hosted by the royal family were also conducted according to courtesy (the five courtesy principles). In particular, the sacrificial rites performed by the royal family were a national event to show off the principle of 'loyalty and filial piety'; so, the utensils used in religious services were cast with the nation's full capability. Manufacturing of the utensils used in religious services for the royal family began to be systematized during the rule of King Sejong early in the Joseon Dynasty and the systematization was completed at the time of King Seongjong, who compiled "The National Five Principles of Courtesy." Meanwhile, the utensils used in religious services for the royal family were produced by a temporary government office called "the Competent Authority," which was set up as needed. This thesis aims to analyze an ancient book entitled "the Competent Authority for Ritual Principles" in order to understand the actual state of brass-ware craftsmen mobilized to the temporary government office to cast the utensils used in religious services for the royal family late in the Joseon Dynasty. The following are a summary of the findings. First of all, early in the 17th century, King Gwanghaegun and King Injo established three times a temporary government office called "the Competent Authority for Religious Services utensils" in order to completely prepare the utensils used in religious services for the royal family, which were scattered or destroyed due to the Japanese invasion in 1592. As a result, two kinds of the utensils of such a kind were equipped in 1601 and five kinds in 1605. Moreover, in 1612, about 80 kinds of brass-ware utensils used in religious services were cast, and all the dished needed for the shrine for the founder of the nation, guardian deities of the nation, royal tombs, and shrines for ghosts were entirely equipped. Next, the utensils used in religious services for the royal family were newly produced when the king died and repaired when they were broken or crushed. For example, the utensils used in religious services at the ancestral shrine of the royal family or the guardian deities of the nation would be frequently examined and mended if needed since they were used for each national sacrificial rite (called "an auspicious rite"). When the king or the queen died (there was performed "an evil rite"), a temporary government office called "the Competent Authority for Shrines for Ghosts" was erected and the utensils were newly manufactured so that they might be used for the sacrificial rites performed before the king tombs[mountain tombs] or within the shrines for ghosts. In this regard, a chronological summary of manufacturing processes of the utensils used in religious services for the royal family produced between the 17th century and the 19th century is listed below. First, in the 17th century, a dish used in religious services for the royal family was manufactured by 6-8 brass-ware craftsman deployed to a temporary government office called "the Competent Authority for Shrines for Ghosts(殯殿魂殿都監)." Copper, a material of the utensils, was imported from Japan, and a team of eight brass-ware craftsman manufactured the dish against a drawing created by a painter. Most of the artisans (capital craftsmen, 京工匠) lived in Seoul and their skill was so good that they were continuously mobilized for 10 years.

전통공예의 전통지식 DB 구축의 성과와 과제

장경희(Jang Kyung-hee) 한국콘텐츠학회 2022 한국콘텐츠학회 종합학술대회 논문집 Vol.2022 No.7

純宗妃 純明孝皇后의 생애와 裕陵 연구

장경희(Jang Kyung-Hee) 한국인물사연구소 2009 한국인물사연구 Vol.12 No.-

純明孝皇后 민씨는 11세 되던 1882년 明成皇后에 의해 세자빈으로 책봉되어 1904년 10월 33세의 짧은 생을 마감하였다. 그녀가 1894년부터 1904년까지 10년간 세자(뒤의 순종)의 사부였던 韋觀 金商悳에게 보낸 편지 10통을 통해 그녀가 시세의 흐름에 민감하고, 정사에 대한 식견이 명확하였음을 알 수 있었다. 그녀는 궁궐에 들어온 이후 명성황후에 의존해 살았으나 황후의 사후에는 마땅히 의지할 상대가 없어 평소 세자의 사부로 왕래가 잦았던 위관을 대상으로 삼았던 것 같다. 주고받은 편지가 주로 기울어져 가는 왕조를 걱정한 나머지 위관이 출사하여 고종황제를 돕도록 부탁한 것이지만 편지의 애절한 문투와 행간에는 그에 대한 정감도 서려있었다. 이처럼 그녀는 그동안 우리가 알고 있던 것처럼 병약하고 명성황후의 그늘에 숨어 있던 가녀린 왕실의 여인이 아니라, 세상 사정과 조정의 인사 문제까지 소상히 파악하고 있었고, 외세의 침탈로 국가의 위기가 눈앞에 다가 온 대한제국의 황태자비로서의 당당한 위상을 지니고 있었음을 엿볼 수 있었다. 1904년, 순명황태자비가 죽어 조성한 裕康園은 대한제국의 유일한 황태자비 墓制이다. 이 유강원을 고종황제는 자신이 壽陵으로 정한 금곡의 홍릉이 완공된 뒤에는 황제릉으로 조성할 의도를 갖고 착수한 듯하다. 그것은 유강원을 조성할 때 황릉에만 세우는 침전을 비롯하여 당가 등과 같은 각종 의장·의물들이 1897년에 조성한 명성황후의 청량리 洪陵을 전례로 삼고 있었기 때문이다. 그러나 고종황제가 금곡 홍릉에 황제릉을 조성하다가 완성하지 못한 것처럼 유강원도 마찬가지였다. 고종황제는 1900년부터 금곡 홍릉에 寢殿을 비롯한 각종 전각이나 능상 석물은 세워 두었으며, 침전 앞 석물도 이미 1899년에 제작을 끝내고 명성황후의 청량리 홍릉을 천장한 후 설치하려다가 못하고 자신이 죽어서야 완성되었듯이 고종황제가 1904년에 조성한 유강원의 침전을 비롯한 모든 건물과 석물도 1926년 순종효황제의 사후 금곡 유릉으로 옮겨졌다. 현재 유릉에 세워져 있는 침전·비각·재실 등의 건물과 침전 내부에 설치한 唐家를 비롯한 의장·의물, 그리고 능상에 설치된 엄전석·혼유석·망주석 등의 석물들은 모두 이때에 옮겨 놓은 것이다. 이러한 의물들은 순명황태자비를 더없이 아꼈던 고종황제가 정성껏 제작하였기 때문에, 금곡의 유릉에 옮겨다 사용해도 손색이 없었음을 볼 수 있다. 그러나 고종황제가 금곡 홍릉에 조영한 황제릉의 형식은 침전 앞에 석인과 석수가 일렬로 쭉 늘어서는 형식이었으나 이것을 생전에 결국 세우지 못한 아쉬움이 남듯이, 금곡 유릉의 침전 앞에 세워진 석물들도 결국 1927년 일본인의 손에 의해 식민지 양식으로 조성된 것은 더욱 가슴 아픈 일이 아닐 수 없다. 그러나 고종황제에 의해 시도되었던 대한제국의 황제릉 양식은 금곡 홍릉에서는 실현되었고, 순명황후와 순종황제의 금곡 유릉에서는 절반의 성공만을 거둔 셈이 되고 말았다. Empress Sunmyeong[純明孝皇后] of the Yeoheung Min clan was invested by Empress Myeongseong[明成皇后] as the Crown Princess at the age of 11 in 1882, and died young at the age of 33 in December 1904. 10 letters sent to Kim Sang-deok[金商悳], the teacher of the then Crown Prince Sunjong[純宗], for 10 years from 1894 to 1904 obviously indicate that she had a considerable insight into history and a correct understanding of the Royal situation. Since she had entered the palace, she had Empress Myeongseong to turn to. After the Empress died, she kept up correspondence with Kim Sang-deok, and even recommended him to enter government service to assist Emperor Gojong[高宗]. She was not a feeble Royal lady who would hide herself under the protection of Empress Myeongseong, and she knew well about the ways of the world and fully understood the personnel-related matters in the Royal court. She maintained a dignified profile as a Crown Princess of Korea at the time when the national prestige was on the decline due to its relations with neighboring countries. Yugangweon[裕康園], the unique tomb of Crown Princess in Korea, was built in 1904 after her death. In those days, Emperor Gojong seemed to intend to raise the status of Yugangweon to the tomb of Emperor at the time when the construction of Hongneung[洪陵], the tomb for himself and Empress Myeongseong, would be completed in Geumgok[金谷]. His intention was evident in buildings, decorative structures and stone sculptures which were modelled on those of Hongneung, the tomb of Empress Myeongseong, that had been built in Cheongnyangni in 1897. Yugangweon, however, had no chance of becoming the tomb of Emperor, as Emperor Gojong failed to finish Hongneung, the tomb of Emperor in Geumgok, during his lifetime, despite that its stone figures had been ready to be placed in front of the tomb chamber in 1899, and its buildings and stone structures had been built on the tomb in 1900. Emperor Gojong missed to complete the tomb of Emperor by waiting for a timely relocation of the tomb of Empress Myeongseong. The decorative structures and stone figures of Yugangweon were comparable to those for a tomb of Emperor, and were later relocated to Yureung[裕陵] that was posthumously built for Emperor Sungjong in Geumgok. Although it was not finished, Hongneung, the tomb of Emperor in Geumgok, was designed to place the stone statues of human and animal figures lined up in front of the tomb chamber. Those of Yureung in Geumgok also followed the same layout, but were forcedly produced in Japanese colonial pattern after Emperor Sunjong died in 1927. The layout pattern what Emperor Gojong intended for the tomb of Emperor was only accomplished in Hongneung, the tomb of Emperor Gojong and Empress Myeongseong, and counted half a success in Yureung, the tomb of Emperor Sunjong and Empress Sunmyeong.

조선 후기 궁인(弓人)과 시인(矢人) 연구 - 『의궤』의 분석을 중심으로 -

장경희(Jang Kyung hee) 한국조형디자인학회 2016 조형디자인연구 Vol.19 No.1

조선시대에 활을 만드는 궁인(弓人)과 화살을 만드는 시인(矢人)은 국가에서 우대하였다. 당시 활과 화살은 국가를 방어할 무기로서 중요하게 여겼기 때문에, 국가에서는 두 장색의 장인들은 다른 장인들보다 숫자도 많았다. 그러나 그동안 학계에서는 이들 장인을 주목하지 않았다. 이에 본고에서 조선후기 왕실의 의례행사 때마다 임시로 설치한 관청[都監] 217곳에서 활동한 궁인과 시인을 『의궤(儀軌)』로 분석하여 다음과 같은 내용을 처음으로 밝혔다. 우선, 궁인과 시인은 조선 후기 국왕의 장례나 혼인할 때 설치한 임시관청[都監]에 가장 많이 동원되었다. 특히 이들은 국장도감의 1방과 3방에 분속되어 각자 역할을 수행하였다. 1방은 대행대왕이나 왕후의 시신을 옮길 가마를 만드는 제작처인데, 이곳에서 궁인은 대여의 손잡이용 나무막대[長杠]나 판자[輪臺板] 등을 강화시키고자 쇠심줄[牛筋]을 어교(魚膠)로 붙였다. 이 기술은 장인이 활을 만들 때 대나무와 뽕나무를 강화하는 세부 기술을 응용한 것이다. 3방은 무덤에 넣는 명기를 만드는 제작처인데, 궁인은 붉은 활[彤弓]을, 시인은 붉은 화살[彤矢]을 만들었다. 다음, 장인의 명칭은 궁장(弓匠)이나 시장(矢匠)보다 궁인이나 시인 및 전장(箭匠)을 적극 사용하였고, 그들이 사용한 재료와 도구를 국가에서 마련해 주었다. 도구는 17세기에는 1가지였으나, 1724년에는 5가지로 늘어났으며, 1776년부터 10가지 이상의 것 일체를 준비하였다. 마지막으로, 장인들의 신분은 시기마다 바뀌었다. 17세기의 장인들은 서울에 거주하였다. 그러다 1673년 이후 18세기 관공장들은 군기시(軍器寺)나 상의원(尙衣院)과 같은 상설아문이나 훈련도감이나 수어청 등 5군문에서 근무하였다. 1785년 이후 19세기 장인들은 궁궐 안에 소재하던 내궁방(內弓房)에서 근무하던 내궁인이나 내시인이거나 사영(私營) 업자로 나뉘었다. 이들 장인 중 48년 내지 57년간 활동한 장인도 있어 주목된다. Gungyin(bowyer) and Siyin(arrow maker) got special treatment in the Joseon Dynasty era. Bows and arrows were considered as major weapons to defend the country so that the two master craftsmen outnumbered other ones. The academic world, however, has not paid attention on bowyer and arrow maker. In this regard, this study analyzed on Uigwe(document) recording about craftsmen who worked for 217 Dogams(temporary government offices) in ritual events in the late Joseon Dynasty. The findings are as follows. First of all, the temporary government office mobilized bowyers and arrow makers most at the King s funeral and wedding. The craftsmen performed their roles in two different workshops. In the first workshop, palanquin made to carry Queen or King s corpse were crafted. Gungyins attached ox tendon by fish glue to the chair to strengthen wooden sticks(長杠) or board(輪臺板) for handheld use. In the second workshop, burial goods were crafted. Bowyers and arrow makers made red bow and red arrow respectively in the workshop. Next, bowyer and arrow maker were called “Gungyin” and “Siyin”, rather than “Gungjang”, “Sijang” and “Jeonjang”. the government supplied raw materials and tools used by the craftsmen. In the 17th century, one tool was supplied but five tools were supplied in 1724. Since 1776, more than ten tools were ready. Lastly, their social position was changed by time. In the 17th century, the craftsmen resided in Seoul. Since 1673, official artisans worked at government offices or at military camp. Since 1785, they worked at workshop inside the palace or ran a privately owned workshop. There were some craftsmen who worked for 48 years to 57 years.

조선후기 魂殿 造成 木手 연구

장경희(Jang Kyung-hee) 고려대학교 한국학연구소 2008 한국학연구 Vol.29 No.-

魂殿은 왕이나 왕비가 승하한 후 궁궐에 그들의 혼백을 모셔 3년간 제사를 드리던 곳이다. 조선시대에 왕이나 왕비의 장례는 五禮의 하나인 ‘凶禮’로서, 조정에서는 國葬都監ㆍ殯殿魂殿都監ㆍ山陵都監이라는 임시관청을 설치하고 국력을 총동원하여 치렀다. 이중 국장도감이나 산릉도감의 업무는 3~5개월 동안 왕과 왕비의 죽음을 백성들에 널리 알리는 국장행사를 치른 후 그 시신을 왕릉에 안치하는 단기간의 궁궐 밖 행사였다. 한편 빈전혼전도감의 업무는 시신을 갈무리하는 빈전의 일과 魂殿으로 조성하여 3년간 제사를 드리는 장기간의 궐내 행사로서 의미 있다. 본고는 조선후기 『빈전혼전도감의궤』를 중점적으로 검토하여 시기별 변화과정을 밝혀 보았다. 그 결과 혼전은 궐내의 중심 전각 중 하나인 편전을 명칭과 용도를 바꾸어 사용하였으며, 19세기에 들어 왕과 왕비의 공간이 창덕궁과 창경궁으로 나뉘었음을 알게 되었다. 한편 전각을 수리하고 내부의 각종 의장물을 조성하고자 혼전2방을 분설하였고 많은 수의 목수들을 동원하였는데, 그중 목업을 책임지면서 2~30년 이상 활동한 목수들은 “도감의궤”의 장인질을 대상으로 분석한 결과 세기별로 신분이 바뀌고 있었다. 즉 17세기에는 서울과 지방에 거주하는 목수를, 18세기에는 관청에 소속된 목수를, 18세기 말부터는 私的인 생산에 종사하는 목수를 동원하였음을 알게 되었다. 이처럼 혼전은 국장의 전모를 밝히는데, 또 혼전 건물은 건축사 분야의 궁궐건축을 이해하는데, 목수 등 장인의 신분 문제는 사회ㆍ경제사나 미술사 분야의 연구에 기여할 것이다. The Honjeon is a shrine in the royal palace where sacrificial rites were offered to the spirits of the deceased king or queen for three years after their death. In the Joseon Dynasty, a funeral ceremony[國葬] for the king or the queen was one of the major national rites called 'the inauspicious ceremony[凶禮].' The royal court established temporary offices for holding a state funeral, guarding the royal shrine & offering sacrificial rites to the shrine, and constructing a royal mausoleum; and all the national power was invested to hold the funeral ceremony magnificently. The temporary office for holding a state funeral or constructing a royal mausoleum was in charge of a short-term event for laying to rest the dead body of the king or the queen, which was held outside the royal palace after the demise was widely known to the public for three to five months. In contrast, the temporary office for guarding the royal shrine & offering sacrificial rites was charged with long-term duties and short-term ones: the latter include putting in order the dead body and the former include works about the Honjeon, in which sacrificial rites were offered for three years. This thesis mainly considered a historical book explaining about the duties of the temporary office for guarding the royal shrine & offering sacrificial rites in the latter period of the Joseon Dynasty, in order to trace back the changes of the duties in each epoch. The findings include the facts that the Honjeon was a side room of the palace whose name and use were altered and that the spaces for the king and the queen were divided and called Changdeok Palace and the Changgyeong Palace, respectively, in the 19th century. On the other hand, a second Honjeon was additionally set up and it was charged with repairing the royal palace and arranging various indoor decorations, for which numerous carpenters were mobilized. Analysis of the chapter of artisans in the said book found that the social status of the carpenters who had served for two or three decades was changed in each age. In other words, the artisans were selected from the carpenters living Seoul and local areas in the 17th century, from those belonging to government offices in the 18th century, and from those engaged in private production after the 18th century. As may be seen in the above, the present author believes that the Honjeon contributes to the understanding of all the features of a state funeral, the building of the Honjeon to the understanding of the edifices in the royal palace according to the history of construction, and the caste system for carpenters and other artisans to researches into the history of societies & economy or arts.