조선시대 궁중연향도에 나타난 공연양식: 「신축진연도병(辛丑進宴圖屛)」(1901)을 중심으로 = A Study of Way of Performance Represented in the Painting of Court Banquet during Joseon Dynasty- Focused on 「Sinchuk-jinyeon-dobyeong」(1901)

다국어 초록 (Multilingual Abstract)

Court banquets were held throughout the Joseon Dynasty (1392-1910) and the paintings describing them were made in many different forms such as chuk (scroll), hwacheop(book) and byeongpung (folding screen). The paintings of court banquet show music and dance that were performed in the banquet. 「Sinchuk-jinyeon-byeongpung」(a folding screen describing the royal banquet in the year of Sinchuk) was made in July, 1901. The folding screen drew my attention because it described the court banquet that was held with the majesty and magnificence of the Empire of Korea declared in 1897. Also, the translation of 「Sinchuk-jinyeon-uigwae」(Official Record of Court Banquet) in July, 1901 was published in 2001, which could make possible the study of the performance practice in the court banquet. 「Sinchuk-jinyeon-byeongpung」shows four different royal banquets in 1901, which include the oejinyeon, an external banquet for males, such as the King and officials, and the naejinyeon, an internal banquet with women. The former is a formal ritual while the latter is a socializing banquet for the royal family. The two show different uses of space and methods of performance. The banquet stage was open at oejinyeon, while it was surrounded by partitions at naejinyeon. The King participated in both banquets with his seat in the same position. The position of the seat of prince was different in the two banquets. He sat in the same room next to the King at the oejinyeon while inside the partition with female dancers at the naejinyeon. The King, prince and officials, both civil and military, participated in oejinyeon, while the King, prince and princess, other male and female members of royal family, and officials of the banquet office also participated. As for music ensembles, there are deungga (terrace ensemble), heonga (courtyard ensemble), and naechwi (royal military band). Deungga accompanied dance that was performed on the terrace. The heonga played when the King ascended to his throne, and for other activities. Naechwi played for court processions and waited for seonyurak (Boat Dance) to be performed to accompany it. Deungga is placed on open terrace at oejinyeon, whereas it is placed behind a partition at naejinyeon. Heonga is placed in the same position both at oejinyeon and naejinyeon. Naechwi is placed in the east and west ends of southern parts of terrace at oejinyeon, but iin the same position as heonga in courtyard at naejinyeon. Dance was performed by boy dancers at oejinyeon and by female dancers at naejinyeon. According to 「Sinchuk-jinyeon-uigwae」, the main sections consisted the offering of wine, nine times in oejinyeon and seven in naejinyeon. 17 and 19 kinds of dance were performed at oejinyeon and naejinyeon respectively. The dances were performed one by one, but in the paintings several of these dances were drawn in the same place. Also, in the case of naejinyeon with partition, the female dancers use gates in the partition for entrances and exits. The situation inside the partition was delivered through this gate to the jipbak who directs music deungga musicians to accompany dance. In this 「Sinchuk-jinyeon-dobyeong」, several questions about the way of performance arise. Especially, it is questionable how many participants could enjoy the dance in the partition at naejinyeon. The King, the main character of the ritual, whose throne was high saw the performance, and the prince and prince`s brother, whose seats were near the female dancers, must have enjoyed it. The women of royal family who participated in the ritual could not see the performance of dance behind the curtain of partition though they were offered wine. I leave the issue of ritualistic quality and performance quality of the banquet shown in the 「Sinchuk-jinyeon-dobyeong」that are very different from modern definition of performance as a future task.

참고문헌 (Reference)

1 "조선시대 풍속도Ⅰ" 서울: 국립국악원 37 : 2002

2 "조선시대 진연 진찬 진하병풍" 서울: 국립국악원 35 : 2000

3 "조선시대 연회도" 서울: 국립국악원 36 : 2001

4 "조선시대 궁중연향과 여악연구" 서울: 민속원 2001

5 "조선시대 궁중기록화연구" 서울: 일지사 14 : 2000

6 "조선시대 宮中懸板의 이해" 서울: 궁중유물전시관 9 : 64-69, 2001

7 "외연과 내연의 의례구성과 특징 (Ⅱ)" 서울: 한국 음악사학보 30 : 251-269, 2003

8 "외연과 내연의 의례구성과 특징 (Ⅰ)" 서울: 한국 음악사학보 29 : 149-176, 2002

9 "공연문화의 전통" 서울: 태학사 9 : 2002

10 "고종신축진연의궤" 서울: 한국예술종합학교 전통예술원 2 : 2001

11 "19세기의 궁중연향과 궁중연향도병. 조선시대 진연 진찬 진하병풍" 서울: 국립국악원 35 : 221-237, 2000

12 "19세기 진연, 진찬,진하병풍의 음악적 내용과 자료적 가치. 조선시대 진연 진찬 진하병풍" 서울: 국립국악원 35 : 185-200, 2000

13 "19세기 장악원의 존재양상. 동양음악" 75 : 2003