덕수궁 중화전 당가 구조와 오봉병의 원형에 대한 고찰 (A Study on the Structure of the Throne Canopy and the Original Folding Screen with Five Peaks in Junghwajeon Hall of Deoksugung Palace)

서지정보

· 발행기관 : 한국미술사교육학회
· 수록지 정보 : 미술사학 / 39권 / 189 ~ 218페이지
· 저자명 : 전나나

초록

오봉병은 궁궐 정전과 편전, 왕의 초상화인 어진을 봉안하는 진전, 능의 침전 등에 설치하여 왕의 자리를 나타내며, 왕의 권위를 상징적으로 드러낸다. 의궤와 근대 사진으로 파악한 덕수궁 중화전 오봉병은 1905년에 전수묵, 윤석영이 그린 회화이다. 덕수궁 중화전과 경복궁 근정전 오봉병에는 일월경을 걸었던 모습도 확인되는데, 중화전의 오봉병의 일월경은 제작에 필요한 재료와 수량도 알 수 있어서의미가 있다.
궁궐 정전의 오봉병은 당가를 두고, 부벽화와 장지의 형태로 한 면만 설치되어있으며, 혼전인 경효전과 홍릉, 유릉의 침전 내부에는 당가를 설치한 후에 삼면으로 설치하였다. 진전에서 오봉병은 창덕궁 신선원전처럼 열성어진을 봉안하는 경우 삼면으로 설치하였고, 단독 어진을 봉안하는 전주 경기전은 오봉병을 병풍 형태로 제작하여 한 면만 설치하였다. 조선 왕실에서 제작한 동관왕묘 오봉병은 7폭병풍으로 병풍을 세우지 않고 펼쳐서 고정하였는데 감실 형태로 구성하는 경우에는 병풍을 펼쳐 두는 것이 일반적이었던 것으로 보인다.
또한 오봉병의 장황은 궁중 기록화와 근대 사진, 의궤 도설과 기록을 토대로 장황 비단을 추정할 수 있는데, 대체로 변아에 초록 비단을 두고 그 위에 금니로 마름모꼴이나 원형 꽃 문양을 그렸다. 오봉병의 뒷면은 청능화지로 배접하였다. 현존하는 오봉병의 장황은 동관왕묘와 창덕궁 신선원전, 국립중앙박물관 소장 유물정도가 원형으로 여겨진다.
중화전 당가에 설치된 오봉병은 광복 전후의 시기까지도 일월경이 남아 있었다.
그러나 대한제국 정권에 대한 불신과 일제 강점기 덕수궁의 장악에 대한 반감으로인하여 일월경이 20세기 후반에 훼철되었다. 정전에서 오봉병은 왕과 황제의 권위를 드러내며 높은 어탑 위에 조성하였고, 한 면에만 오봉병을 설치하여 왕의 위치를 입체적으로 드러내도록 하였다. 한편 삼면으로 오봉병을 두는 경우에는 장지형태로 배치하였으며, 감실로의 기능이 강조되는 경우가 다수이다. 이처럼 우리나라의 독특한 왕의 상징인 오봉병은 정전에서 대형의 부벽화로 제작하여 왕의 배경이 되었고, 장지와 병풍 등으로 제작하여 신주, 어진, 재궁 등을 봉안하는데 활용되기도 하였다.

영어초록

Folding Screens with Five Peaks(Obongbyeong) was usually placed behind the seats of Joseon kings in the throne hall(Jeongjeon), royal council hall(Pyeonjeon), and royal portrait shrine(Jinjeon), as well as in the ritual hall(Chimjeon) of royal tombs, to symbolize their royal authority. Old photographs and extant records of the royal protocols(Uigwe) show that the five peak screen placed in Junghwajeon Hall of Deoksugung Palace was mounted with a painting of the five holy peaks(Obong) produced in 1905 by Jeon Su-muk and Yun Seok-yeong. The Five Peak Screens placed in Junghwajeon Hall of Deoksugung Palace and Geunjeongjeon Hall of Gyeongbokgung Palace exhibit traces of the Sun and Moon Mirrors (Irwolgyeong) that were once hung on them. As regards the mirrors hung on the screen at Junghwajeon Hall, there are old records that contain information about their materials and numbers.
The Five Peak Screens placed in the throne hall of Joseon's palaces were mounted on a single wall under a canopy, whereas those in the funerary shrine, Gyeonghyojeon Hall, and the ritual halls of Hongneung and Yureung Royal Tombs were mounted on three walls of the canopy. In the royal portrait shrines dedicated to numerous deceased rulers, such as Sinseonwonjeon Hall at Changdeokgung Palace, the Five Peak Screen was mounted on three walls, while in Gyeonggijeon Hall in Jeonju, which serves as a shrine dedicated to a single ruler, King Taejo, the screen was placed so as to cover only a single wall. As for the seven-panel Five Peak Screen enshrined at the Donggwanwangmyo Shrine, which is believed to have been made by the royal family of Joseon, it was mounted on the wall in an unfolded rather than a folded state so as to stand on the floor independently, suggesting that it was common practice during the Joseon period to unfold the screen completely before mounting it on the wall when installing it under a canopy inside a shrine.
According to the early photographs, court documentary paintings, and texts and illustrations of the royal protocols of the Joseon dynasty, the Five Peak Painting mounted on a folding screen was characterized by green silk edges on both sides, gold lozenge or round floral patterns on the upper and lower boundaries, and the use of indigo backing paper with a lozenge pattern. The Five Peak Screens in the Donggwanwangmyo Shrine and Sinseonwonjeon Hall are fine examples of the original Five Peak Painting mounted on a folding screen.
The Five Peak Screen placed under the canopy of Junghwajeon Hall was fully preserved until the mid twentieth century, along with its Sun and Moon Mirrors. Unfortunately, the mirrors were removed from the screen and destroyed during the late twentieth century by someone who wanted to express his antipathy towards the government of the Korean Empire(1897-1910) and the subsequent domination of the imperial palace of Deoksugung by Japanese imperialists. The Five Peak Screen of the throne hall was typically placed on the wall behind the throne, mounted on a lofty dais, in order to symbolize the authority of the Joseon king or Korean emperor who sat upon it. Sometimes the screen was installed in a u-shape to highlight its function as part of the canopy. As mentioned so far, the Five Peak Painting mounted on a folding screen had previously served as a symbol of Joseon's rulers in the throne hall, where it functioned as the backdrop of the throne, and was also used to honor the spirit tablet, portrait and coffin of the dynasty's deceased rulers.

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