朝鮮時代 女性소재 鑑戒畵 연구－賢妃故事圖와 烈女圖의정치적 성격을 중심으로－ (Research on the Gamgyehwa that has women as subject: Political aspects of Hyeonbi gosado (painting of the story of the sage queen) and Yeolnyeodo (painting of the story of the faithful woman))

서지정보

· 발행기관 : 한국역사민속학회
· 수록지 정보 : 역사민속학 / 43호 / 91 ~ 131페이지
· 저자명 : 문선주

초록

조선시대 감계화는 교훈적인 이야기를 그림으로 표현하여 교화를 이룩하기 위해 제작한 것이다. 감계화는 주로 유교적인 내용을 주제로 하여 그림으로 표현한 것으로 無逸圖와 豳風圖, 聖君賢妃 故事圖, 孝行圖, 孔子成績圖 등이 대표적이다. 이들 감계화는 군주의 윤리와 통치관을 확립하고자 하는 제왕학의 방편으로 그려진 것으로 국왕의 역할과 위상을 강조했고 이상적인 제왕의 모습을 제시하였다.
여성소재 감계화는 현비고사도, 열녀도류로 분류된다. 대표적 현비고사도인 현비병, 후비명감, 후비가계병풍이나 행실도류 열녀도는 모두 조선에 유입된 『고금열녀전』, 『고열녀전』의 영향 하에 제작되었고 중국 史書의 영향도 보인다. 조선후기 열녀도 병풍은 열녀전뿐 아니라 『소학』, 『시경』 등 유교경전에 의거하여 그려진 것으로 보인다.
여성소재 감계화는 왕후, 사대부 여인, 일반 백성 중 여인들을 대상으로 유교적 여성상을 배포하기 위해 제작되었을 것이라고 생각되었다. 그러나 행실도의 경우 중종대를 제외하고는 현실적으로 유교적 여성상을 여인들이 내재화할 만한 수량이 배포되지 못했다. 또한 열녀도는 한문, 한글 텍스트와 함께 이해될 수 있기 때문에 텍스트를 이해할 수 있는 문인들을 통해서 교육되어야만 하는 한계가 있었다. 이것은 임란이후 사대부집안의 여인에 집중되는 열행을 통해 확인할 수 있다.
유교적으로 이상적 여성상이라는 이데올로기의 교육서로서 제작된 이면에는 당대의 정치적 상황을 반영하고 왕권의 권위를 드러내거나 통치의 합법화를 위해 제작된 면이 있는 것으로 보인다. 특히 왕의 고사와는 다르게 현후고사는 수렴청정, 외척과 같은 문제를 제기할 수 있었다고 생각된다.
현비고사도, 열녀도류 등 여성소재 감계화의 특징은 첫째 국왕의 직접적인 명령에 의해서 제작되는, 국가주도의 사업이라는 점이다. 이 때문에 당대의 대표적인 화원이 참여하여 도화서 화원들의 협업에 의해 제작되었고 당대화풍이 많이 반영되었다. 그런데 조선후기 조선 고유의 풍속화, 진경산수화가 유행하던 때 제작되었던 『오륜행실도』는 산수표현에서는 조선적 특징을 가지고 있으나 인물표현에서는 명대복식을 그리는 등 중국식 표현법을 벗어나지 않았다. 둘째 여성 소재 감계화는 병풍, 판화, 족자로 제작되었는데 기능에 따라 형식을 취한 것으로 보인다. 병풍은 방이나 궁궐에 상시 설치하여 늘 성찰하기 위한 용도로, 판화는 다수의 수요자를 위해 대량생산을 목적으로 했기 때문에 취해진 형식이었다. 또한 족자는 가문에서 개인적으로 기념하기 위해 주문제작한 것으로 보인다.

영어초록

Gamgyehwa (鑑戒畵 paintings for moral instruction) of the Joseon Dynasty were produced for edification by illustrating didactic stories. These paintings mostly have Confucian content as their theme, and major types include paintings based on the contents of Muildo (no complacency), Binpungdo (painting of farming scene), Seonggun hyeonbi gosado (painting of stories of the sage king and queen), Hyohaengdo (painting of filial piety) and Gunja seongjeokdo (painting of the life of wise men). They were produced as means of the study statecraft and leadership to establish the morality and governance of the king.
Gamgyehwa that has women as subject matter were examined upon classifying them into two types: Hyeonbi gosado (賢妃故事圖, painting of the story of the sage queen) and Yeolnyeodo (烈女圖, painting of the story of the faithful woman). The major paintings of the story of the sage queen, including the Hyeongbibyeong, Hubimyeonggam and Hubigagye Screen, as well as haengsildo (paintings of the faithful woman depicting the codes of conducts) were all produced under the influence of Biographies of Exemplary Women of Past and Present (Gujin lieunu zhuan, or Gogeum-yeolnyeo-jeon in Korean) and the Biographies of Exemplary Women (Lienu zhuan, or Go-yeolnyeo-jeon in Korean), which were brought into Joseon from China. The paintings seemed to have been influenced by the Chinese Classics, and the folding screens with paintings of the story of the faithful woman of the late Joseon period seems to have been painted in accordance with not only the Biographies of Exemplary Women but also Confucian scriptures such as Sohak (小學, Minor Learning) and Sigyeong (詩經, the Book of Odes).
Gamgyehwa that have women as subject matter were thought to have been produced to disseminate a Confucian feminine ideal to the women including the queen, women of the nobility and the women of the general public. However in the case of paintings depicting the codes of conducts, a quantity that was enough to realistically internalize the Confucian feminine ideal was not distributed except during the reign of King Jungjong. Moreover, because the paintings of the story of the faithful woman could only be understood together with the text in Korean and Chinese characters, they had limitations in that they had to be educated through the literati, who could understand the text. This can be confirmed through the codes of conducts of women maintaining their chastity that was focused on the women of the nobility following the Japanese Invasion of Korea in 1592.
However, besides being produced for educational purposes of the ideology as the Confucian feminine ideal, the paintings seem to have been produced for the purpose of reflecting the political circumstances of the time, asserting authority of the sovereign power or legalization of the rule. In particular, unlike the paintings of the stories of the king, the paintings of the stories of the queen seem to have been able to raise issues including regency by the queen mother and maternal relatives.
A defining characteristic of the paintings for moral instruction that have women as subject matter including paintings of the stories of the sage queen and paintings of the stories of the faithful woman is that were state-led projects, produced upon direct order from the king. On this account, they were produced in collaboration with the court painters of Dohwaseo (royal painting institute) in which the greatest court painters of the time participated. Thus, the painting style of the time was largely reflected in the works. However, in regards to Oryun Haengsildo (Illustrated stories exemplifying the five Confucian virtues) that was produced in the late Joseon, when genre paintings and real landscape paintings indigenous to the Joseon Dynasty were popular, the depiction of the landscape carried characteristics of Joseon, yet the depiction of people kept within bounds of the Chinese styles, illustrating people with clothing of the Ming Dynasty.
The second characteristic of gamgyehwa that have women as subject matter is that, as viewed from their production in folding screens, prints and scrolls, they were produced in different forms according to their functions. The folding screens were produced for the purpose of constant introspection by installing it in the room or palace whereas the prints were produced for the purpose of mass-production to meet the demands of the many. Moreover, the hanging scrolls seem to have been produced by order for the purpose of commemoration in individual households.

참고자료

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