이녕李寧의 작품활동

이내옥(李乃沃) 일조각 2006 韓國史市民講座 Vol.39 No.-

恭齋 尹斗緖 自畵像 小考

이내옥 국립중앙박물관 1991 미술자료 Vol.- No.47

恭齋尹斗緖의 학문

이내옥 국립중앙박물관 1993 미술자료 Vol.- No.51

백제금동대향로의 사상

이내옥 진단학회 2010 진단학보 Vol.- No.109

Of the figures cast in relief on the Gilt-bronze Incense Burner of Baekje, the most important are the five musicians depicted playing different instruments. Baekje valued music highly, and its people’s understanding of music was thoroughly Confucian, a viewpoint which is reflected in the design of this artifact. The musicians represent an expression of the people’s desire for a peaceful reign, while the other figures on the incense burner represent diverse aspects of daily life during Baekje’s cultural heyday. The figures were arranged in accordance with Confucian philosophy, the Buddhist influence being minimal. Unlike in Goguryeo and Silla, no traces of the frictions and conflicts between the three main religions - Confucianism, Buddhism, and Taoism - could be found in Baekje. Indeed, Baekje was an advanced society that pursued a universal, ethical, classical culture based on the Confucian ideology of heavenly order. The Gilt-bronze Incense Burner of Baekje was produced against this cultural and social background. Although the incense burner was modeled on the Chinese style of the time, it also incorporates the earlier style of boshan-shaped incense burners of the Han Dynasty, and other unique features such as the five musicians. The Confucianism of the Han Dynasty, based on the theory of the divine authority of the king, held that heaven would bestow auspicious omens on the king for his good deeds and inflict misfortune upon him for his wrongdoing. According to the Samguk-sagi (History of the Three Kingdoms), many hardships occurred at the end of Baekje period for which, according to Confucian ideology, the unsuccessful kings of the day were responsible. The five musicians and the Chinese phoenix depicted on the Gilt-bronze Incense Burner of Baekje symbolize the advent of an auspicious omen and the wishes of Baekje people for a peaceful reign. 백제금동대향로의 도상 중 가장 중요한 부분은 5樂士이다. 백제에서는 음악을 중요시했고, 당대인들의 음악에 대한 관념은 철저히 유교적이었다. 또한 악기의 구조에 대한 의미 부여와 해석도 그러했다. 당대의 이러한 음악관이 백제금동대향로에 반영되어 있다. 5악사의 음악 연주는 태평성대의 염원을 표현한 것이다. 백제금동대향로 도상은 끝없이 펼쳐지는 경관 속에 다양한 존재들의 삶이 하나의 장대한 파노라마를 이루는 大觀의 모습으로, 문화적 융성기의 시대적 산물이었다. 백제금동대향로 도상 중의 불교적 성격은 오히려 미미하다. 그에 비해 도상의 배치는 다분히 유교적 표현이다. 백제에서는 고구려․신라와는 달리 삼교 간의 사상적 마찰이나 대립의 흔적을 찾아 볼 수 없었다. 백제는 유교적인 天命 의식을 바탕으로 보편적이고 윤리적인 고전문화를 지향했던 선진적인 사회였다. 이러한 사상적 배경을 밑바탕으로 해서 백제금동대향로가 탄생한 것이다. 백제금동대향로는 당시 중국에서 유행하는 양식을 따르면서도, 古式인 漢代 博山香爐 양식을 절충하고, 거기에다 5악사 도상과 같이 백제금동대향로만의 독특함을 첨가한 것이다. 天人感應論에 근거한 漢代 유교는 군주의 올바른 행위에 대해서는 하늘이 祥瑞를 내리고, 올바르지 못한 군주의 행위에 대해서는 災異를 내려 경고한다는 것이다. 『삼국사기』 백제 말 기록에 많은 재이가 등장하고 있는데, 이것은 백제 사회의 유교적 관념을 드러낸 것이다. 백제동대향로의 5악사와 봉황은 상서 출현을 통해 태평성대를 꿈꾸었던 백제인들의 염원을 표현한 것이다.

朝鮮後期 風俗畵의 기원 : 尹斗緖를 중심으로

이내옥 국립중앙박물관 1992 미술자료 Vol.- No.49

The genre painting of the later Chos□n period was called sokhwa, vulgar painting, from the point of view of the yangban scholar-officials. Until now, although the studies of genre painting have certainly helped us to understand it, there remain problems especially as the work of Yun Tu -s□, a pioneer of genre painting, have not been thoroughly researched, As for his genre paintings, 'Gathering Herbs', 'Making Straw Shoes' and 'Carving Wooden Vessels' and 'Stone-breaking' are among those known today. The people who appear in Yun Tu -s□'s genre paintings are those who were looked down upon as they belonged to the lower classes of Chos□n society. The fact that these people appear as the main flgures in his paintings suggests a change towards a new society, a change advocated by Yun Du -s□. The figures in his works are all engaged in some kind of physical work : they are not the ideal types of human being sought by the yangban officials. Also we can see Yun's pioneering work, in that through his paintings he created and respresented a new era and new types of human beings. The yangban scholar-officials at that time restrained their emotional expression in both literature and art. The aesthetic categories which they pursued were those of gracefuless and moderation. In such a period, it was a drastic change for the lower classes to be seen in Yun's paintings. The genre painting of this period was based on realism, such realism was a result of changes in Confucian epistemology. Yi Ik(1681-1763) showed a new direction in leo-Confucianism by criticizing the traditional Neo-Confucianism of Zhu Xi : all beings in the world differ from each other. Accordingly one should seek the appropriate method with which to discriminate the different principles of each thing. To understand phenomena, one needs a variety of knowledge, which should be pursued. Thus from a human viewoin t, one should found an objective understanding of human brings according to their differences. Yun Tu -s□ shared this common understanding in common with Yi Ik's thought. Yun sought out one by one the individual characteristics of all beings by verifyin g and investigating their properties. The genre paintings of the Chos□n period came into being in this way. Yun's deep understanding and affection for the lower classes is visible in the figures that appear in his genre paintings. On the one hand he did not want to lose the moderate gentleness of the yangban scholar-officials, while on the other his recognition of the equality of all people distinguishes him from the rest of his own class. Escaping from the disillusionment and despair of the sch olar-official society, he sought new expectations and hope in the life of the lower classes. Yun Tu -s□'s concerns, hopes and expectations of these classes are represented in his paintings. He not only had knowledge of craftsmanship and other skills, which were disregarded by the yangban class, but also practised these skills himself. In his paintings he actually took as subjects both the tools and the craftsmen who carved wooden vessels. The genre paintings of Yun Tu -s□ do not display the realism that is found in kim Hong-do and Sin Yun -bok's paintings. This was probaly because of the constraints on upper-class life, an unavoidable restriction imposed by the class system, but this does not diminish the value of his genre painting, as this showed the opening of a new era, reflecting the new ideas and concerns of the time.

미륵사와 서동설화

이내옥 역사학회 2005 역사학보 Vol.0 No.188

백제인의 미의식

이내옥 역사학회 2006 역사학보 Vol.0 No.192

Artistic Consciousness of Baekje People

백제금동대향로의 비밀

이내옥(李乃沃) 일조각 2009 韓國史市民講座 Vol.44 No.-

백제 칠지도의 상징

이내옥 국민대학교 한국학연구소 2010 한국학논총 Vol.34 No.-

The penmanship style of chiljido (seven-branched sword) inscriptions is haeseo (square or block style) and yet exudes the ambiance of yeseo (plain square style). A few characters in the inscription followed the ancient style, but they disappeared as the haeseo style was established. The penmanship style of the inscription is far from the free style shown in the Baekje Ungjin period, and from the styles of two Wangs (Wang Xizhi, Wang Huizhi). It is even farther from the style of the Sabi period. Thus, the manufacturing time of chiljido could not be determined as the Hanseong period by the penmanship. The yin and yang theory is the key theme of the Chinese ancient cosmology. The theory says that all things in the universe come into being and change according to the growth and perishing of the two types of energy, yin and yang. Number 7 symbolizes the strongest yang energy. The perfection of yang energy can be achieved with number 7. For instance, anecdotes of this symbol of number 7 were repeated in records related to chiljido in The Nihon shoki (The Chronicles of Japan). Gongna Iron Works is a long distance away that could not be reached even by seven-day travel, and swords and mirrors were all manufactured in such a way to have branches. The repetition of number 7 as in chilji (seven branches), chilja (seven sons), and chiril (seventh day) holds special meaning. 7 symbolizes powerful yang energy strength. Thus, chiljido symbolizes extreme yang energy strength. This symbol is more significant because chiljido was sent by Baekje to the Wa as a ceremonial present. In manufacturing swords, timing was long considered a very important factor in East Asia. Saingeom (four-tiger sword), which symbolize powerful yang energy, was manufactured to cast off evil spirits. Here, four tigers mean the year of tiger, the month of tiger, the day of tiger, and the hour of tiger. chiljido, seven-branched swords, were manufactured after forging iron one hundred times, and were the symbol and embodiment of the strong yang energy. Chiljido, containing the most powerful yang energy, could repel any formidable yin energy. The keyword of the chiljido inscription is “seongeum (literally, holy sound)”. Some people argue that seongeum is the truth of Buddhism or Taoism. However, at the time, religious truth could not be mentioned through chiljido, a symbol of a diplomatic document, between Baekje and the Wa. The Chinese character seong (聖) originates from the sun, and thus it embraces the function to shine the world, and the power of life to create and grow all things in the universe. The chiljido inscription structure can be categorized into the previous world, the present world, and the world after death; this expresses the strong pride of Baekje which is symbolized as the present world. Baekje sent chiljido, the symbol of the era of seongeum (holy sound), to the Wa, along with the message that this sword, when worn, could dispel any weapons. This is an example of ancient incantation by which to take advantage of the magic power of a certain object to dispel woes of war masterminded by evil spirits or devils. In Ancient China, the Great Dipper was engraved in swords, granting divinity to them, because it symbolized the spirit of yang and the sky. Some records, for instance, read: Gyeongjingeom Sword, which features the engraved Great Dipper, makes all things obey its wearer, and allows its wearer to be guarded internally and externally and to freely command men and evil spirits. The Great Dipper, composed of seven stars, symbolizes the spirit of yang and the liveliest yang energy. 7 is the number which is perfectly complete with the liveliest yang energy strength. Chiljido were manufactured in such a unique way to have seven branches, distinctively because it tried to embrace the symbolic meaning signified by number 7 and the Great Dipper. In this sense, chiljido can be said to be an abstract expression of the Great Dipper that symbolizes the ... 七支刀에 대한 연구가 백 년이 넘지만, 그 본질에 대한 연구는 만족스럽지 않은 형편이다. 따라서 그간 비교적 소홀했던 칠지도의 사상적 배경과 상징성을 당시 동아시아의 문화적 구조 속에서 탐구함으로써, 새로운 관점과 지견을 모색코자 하였다. 음양설에서 숫자 7은 양이 가장 왕성함을 상징한다. 이런 숫자 7이 『일본서기』의 칠지도 관련 기록에 반복되어 표현되었다. 철이 생산되는 谷那鐵山이 7일을 가도 이르지 못할 먼 거리에 있고, 칼과 거울을 각각 7개 가지가 있는 특이한 형태로 모두 제작한 것이다. 七支, 七子, 七日에서 7의 반복은 지극한 陽剛의 상징이다. 칼을 제작하는 양의 기운을 강하게 불어넣어 만드는 時觀念은 동아시아에서 오랜 전통을 가지고 있다. 일곱 가지가 달린 독특한 형태에 백 번 단련한 철로 만든 칠지도는 陽剛의 상징이자 그 구현이다. 칠지도는 최강의 양기가 내재되어 있어서 어떠한 陰氣의 삿된 기운도 무찌르기에 손색이 없기 때문에 破邪와 辟邪를 위한 최고의 기능을 발휘할 수 있다. 칠지도 명문의 중심어는 聖音이다. 칠지도 명문의 구조가 선세, 현세, 후세의 삼세의식을 바탕으로 현세 백제의 강한 문화적 자존의식을 표현하고 있다. 백제는 성음의 시대를 상징하는 칠지도를 보내면서, 이 칼을 차면 모든 병기를 물리칠 수 있다고 했다. 이것은 특정 기물의 呪力을 빌어 악귀나 사귀에 의해 자행될 수 있는 戰禍를 퇴치 또는 회피하려는 고대 辟兵呪術의 예이다. 고대 중국에서는 검에 陽의 精이자 乾을 상징하는 북두칠성을 새겨서 신령성을 부여하였다. 그런데 북두칠성은 7개의 별로서 陽의 精이자 양이 가장 왕성함을 상징한다. 陽剛이 완전하게 갖추어져서 가장 왕성함을 드러내는 숫자가 바로 7이다. 칠지도를 가지가 7개 달린 독특한 형태로 만든 데에는, 분명 칠지도와 북두칠성의 강한 상징이 내재되어 있다. 그런 점에서 칠지도는 陽의 精을 상징하는 북두칠성의 추상적 표현이라고 할 수 있다.

백제 문양전 연구 : 부여 외리 출토품을 중심으로

이내옥 국립중앙박물관 2005 미술자료 Vol.- No.72,73