藏書閣 소장 일제강점기 儀軌의 미술사적 연구 (Jangseogak Uigwe Collections from Japanese Occupation Period and Their Significance for the History of Korean Art)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 259권 / 259호 / 117 ~ 150페이지
· 저자명 : 박정혜

초록

이 논문은 장서각에 소장된 일제강점기 의궤 20종 총 37건의 의궤에 나타난 미술사 관련 자료를 추출하여 그 특징과 성격을 분석한 것이다. 20종의 의궤 중에서 주로 다룬 의궤는 비교적 미술사적인 자료가 많은 1911년 純獻貴妃(1854~1911)의 禮葬, 1919년 고종(1852~1911)의 御葬, 1926년 순종(1874~1926)의 어장, 고종과 순종의 祔廟와 관련된 의궤이다.
의궤에 나타난 미술사관련 자료는 화원의 역할과 그들의 소용 물종, 그리고 의례에 사용된 병풍에 집중되었다. 일제강점기의 의궤에는 글자로만 된 文班次圖가 채색의 행렬반차도를 대신하였으며 화원의 명단도 매우 소략하였다. 그러나 백만옥, 백만갑, 박용숙 등의 書寫와 전수묵(1858-?), 서원희(1862-?), 이덕영(1870-?), 강필주 등의 畵寫 이름을 확인할 수 있다. 병풍은 오봉병과 모란병, 素屛 등이 사용되었는데 보수적인 儒敎 典禮 덕분에 병풍의 용례는 이전 시기와 크게 달라진 것이 없었다.
일제 강점기 의궤에서 가장 주목되는 내용은 1921년『高宗祔廟主監儀軌』및 1928년 『純宗祔廟主監儀軌』에 부록된 고종어진 이봉과 순종어진 모사에 관한 내용이다. 여기에서는 어진의 제작일정, 참여화가, 그에 대한 포상, 모사와 장황에 쓰인 재료 등을 비교적 자세하게 알 수 있다. 즉, 1921년 창덕궁 후원에 신선원전을 건립하고 구선원전의 어진들과 경운궁의 중화전에 봉안되었던 고종의 어진을 移奉하였으며 1928년에는 순종이 36세 때(1909년) 찍은 사진을 범본으로 순종어진을 모사한 것이다. 1928년 어진모사의 주관화사는 김은호였으며 안명준과 백윤문이 수종화원으로 참여하였다.
비록 의궤는 아니지만 김은호가 1935년 4월에서 1936년 1월까지 신선원전의 세조어진과 원종어진을 모사한 사실을 기록한 『선원전영정모사등록』도 중요하다. 이때에는 장운봉이 조수로 참여하였다. 특히 1928년과 1935년의 기록에서는 소용 채색이 완전히 일본 이름으로 바뀐 점이 주목된다.
어진모사에 사진이 범본으로 사용되었고, 장황에는 전적으로 일본인 표구사가 동원되었지만 형식은 조선왕실의 전통을 따른 점, 채색은 완전히 일본제이지만 배채법을 써서 전통방식으로 그린 사실들은 전통의 계승과 시대적 변화가 적절하게 반영되었음을 말해준다.
일제강점기 의궤는 조선시대나 대한제국기 만큼 풍부하고 연속성있는 정보를 내포하고 있지는 않았지만 의궤편찬의 명맥이 유지되었다는 것은 조선건국 이래 왕실전례를 기록하는 전통이 의궤를 통해 얼마나 뿌리깊게 정착되었었는지를 반증하는 사실이다.

영어초록

This paper explores elements and sections from 37 Uigwe (Book of Court Rites) of 20 types, dating from the Japanese occupation period, that are of high relevance to the understanding of the history of Korean art. These uigwe are in the collection of Jangseogak, the Joseon Dynasty’s royal library, at the Academy of Korean Studies. The study takes a particularly close look at the uigwe on the funeral of Queen Consort Sunheon (Sunheon gwibi: 1854-1926), which took place in 1911, the funeral of King/Emperor Gojong (1852-1919) in 1919 and the funeral of Emperor Sunjong (1874-1926) in 1926, and the uigwe on the enshrinement of memorial tablets of Gojong and Sunjong, as these records offer more information related to Japanese occupation-period Joseon art.


Details of royal ceremonies documented in uigwe records, that are deemed relevant for the understanding of artistic activity in this period, are the role played by court painters, the supplies they used and the folding screens used in the ceremonies. After the annexation of Joseon to Japan, haengnyeol banchado, corresponding to pictorial minutes of a ceremony, was replaced by mun banchado, or text-only minutes. The lists of court painters involved in the preparation of royal ceremonies were naturally succinct as well, during this period. However, the names of court calligraphers like Baek Man-ok, Baek Man-gap and Park Yong-suk, and painters like Jeon Su-muk (1858-?), Seo Won-hui (1862-?), Yi Deok-yeong (1870-?) and Kang Pil-ju were mentioned in these lists. As for folding screens, ‘sun, moon and five peaks’ screens, peony blossom screens and sobyeong (plain white screens) customarily used in royal ceremonies, continued to remain in use, as this portion of Joseon’s Confucian custom successfully resisted changes, apparently.
Two of the most interesting uigwe from the Japanese occupation period are those related to the circumstances of the relocation of Emperor Gojong’s portrait and creation of Emperor Sunjong’s portrait, which are appended at the end of the uigwe on the enshrinements of their memorial tablets to royal ancestral shrine: Gojong Bumyo Jugam Uigwe of 1921 and Sunjong Bumyo Jugam Uigwe of 1928, respectively. The two records offer rather extensive details about the process, including the dates of creation of the portraits, names of artists who took part in their creation, rewards they received for their service and media and supplies used for painting and mounting the portraits. They relate, for instance, that in 1921, a new royal portrait hall was constructed in the rear garden of Changdeokgung Palace, and portraits from the old hall were moved there, along with the portrait of King Gojong, which was until then kept in Junghwajeon Hall of Gyeongungung Palace. The records further inform that the portrait of Emperor Sunjong was created in 1928, based on a photograph of him taken when he was 36 years of age (1909). It is reported that Kim Eun-ho was the artist who supervised the royal portrait project of 1928, to which two other painters, An Myeong-jun and Baek Yun-mun, also made contributions.


Seonwonjeon Yeongjeong Mosa Deungnok, the record relating the circumstances of the reproduction of portraits of King Sejo and King Wonjong under a project which lasted from April 1935 to January 1936, is also a document of prime importance, even if not a uigwe. Jang Un-bong, it is said, served as the assistant painter for the project. A noteworthy fact is that both in the 1928 record and the 1935 record, all paints are designated by their Japanese names.


Among the most notable differences from previous eras were the use of photographs as models for creation of royal portraits and the complete replacement of Korean artisan for mounting by Japanese mounter. The method of mounting, however, remained the method traditionally used in Joseon’s royal court. Another important change was the employment of Japanese paints. Here, too, a fine balance between change and tradition was achieved, as ‘baechae,’ a traditional coloring technique consisting in applying colors on the back of the silk, to create a more nuanced tone.


Uigwe records from the Japanese occupation period, although not as complete or detailed as those from preceding eras, are a wonderful testimony to this enduring documentary tradition of Joseon’s royal household, begun with the founding of the dynasty, centuries earlier.

참고자료

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