『고려도경』에 보이는 고려시대 공예의 양상과 특징 (Aspects and Characteristics of the Goryeo Dynasty Craft in『Xuānhwafengshi Gaolitujing(宣和奉使高麗圖經)』)

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초록

『Gaolitujing』’s craft-related record prepared by Xu Jing(徐兢1091~1153) are small in volume but it carries various crafts such as najeonchilgi(螺鈿漆器 lacquerware inlaid with mother-of-pearl), textile crafts, and woodworking.
Particularly in the field of metal crafts, it mentioned comparatively in detail the forms and applications. The lacquerware inlaid with mother-of-pearl is fragmentary, but through what is written ‘exquisite and precious(細密可貴)’, in 1123, the level of mother-of-pearl work in Goryeo was estimated to have been exported to foreign countries by demonstrating the highest level of technology using daemobokchae(玳瑁伏彩). In the textile arts, it can be seen that embroidery paintings are embroidered on ‘flower and animal paintings’, in which tent and a vivid energy are drawn using embroidery. It also reveals the use of red coloring in royal and noble woodwork, along with a tray-table.
To categorize the metal crafts sector by its use and form, it is found that various types of incense burners were used and that among them, many of the antique-shaped Chinese Bronzes(倣古銅器) such as Poshan(博山) Incense Burner were produced. The sugakhwaro(獸脚火爐) brazier can be compared with real materials, which is helpful in a chronicle. In reference to gwangmyeongdae(光明 臺), it is supposed that Gwangmyeongdae was widely produced in the Goryeo period in 1123, and that light fixtures(燈火具) such as candles were used at that time. The sacred water-pot(水甁) is currently believed to be a bronze kettle built in the Goryeo period, and banjan(盤盞) can be compared with the silver-plated takjan(托盞) housed by the National Museum of Korea. Juhap(酒榼) described as a liquor cask, the detail is in line with the pottery kettle of the Boston Museum of Art is noted. On the other hand, it is found that Goryeo seban(洗盤), whose name has been unclear so far, is clearly described separately.
In Gaolitujing, the arts of Buddhist metal crafts are only about kundika(淨甁), a big bell(巨鐘) at Bojesa temple(普濟寺), flagpole(幢竿), and vajra(金剛杵).
However, Jeongbyeong is very detailed in its explanation in comparison with other crafts and gives valuable help to the chronicle of Jeongbyeong in Goryeo.
Before 1346, when Yeonboksa temple bell[演福寺鐘] took place, it it revealed that there was a big beel decorated with Bicheonsang at Bojesa, the original temple. At the top of gilt-bronze Danggan rising in the ground of Heungguksa temple(興國寺) was decorated with phoenix, and it can be a record to restore Goryeo Danggan through the record of wearing a silk banner in the mouth.
Especially, the name is confirmed to be also called ‘pole of banner(幡竿)’. The mention of gold-plated Geumgangjeo kept by royal monks(王師) reveals the fact that Geumgangjeo was used as a bringing of Buddhist monks from an early age.
According to the record as shown in Xu Jing’s Gaolitujing, it is fragmentary material that was written in the Chinese official's position with disappearance of Dobon(圖本Artist’s Sketches), but it is more meaningful than any literature in that it can reveal Goryeo craft art at the time of 1123, which may disappear or cannot be restored now.

영어초록

『Gaolitujing』’s craft-related record prepared by Xu Jing(徐兢1091~1153) are small in volume but it carries various crafts such as najeonchilgi(螺鈿漆器 lacquerware inlaid with mother-of-pearl), textile crafts, and woodworking.
Particularly in the field of metal crafts, it mentioned comparatively in detail the forms and applications. The lacquerware inlaid with mother-of-pearl is fragmentary, but through what is written ‘exquisite and precious(細密可貴)’, in 1123, the level of mother-of-pearl work in Goryeo was estimated to have been exported to foreign countries by demonstrating the highest level of technology using daemobokchae(玳瑁伏彩). In the textile arts, it can be seen that embroidery paintings are embroidered on ‘flower and animal paintings’, in which tent and a vivid energy are drawn using embroidery. It also reveals the use of red coloring in royal and noble woodwork, along with a tray-table.
To categorize the metal crafts sector by its use and form, it is found that various types of incense burners were used and that among them, many of the antique-shaped Chinese Bronzes(倣古銅器) such as Poshan(博山) Incense Burner were produced. The sugakhwaro(獸脚火爐) brazier can be compared with real materials, which is helpful in a chronicle. In reference to gwangmyeongdae(光明 臺), it is supposed that Gwangmyeongdae was widely produced in the Goryeo period in 1123, and that light fixtures(燈火具) such as candles were used at that time. The sacred water-pot(水甁) is currently believed to be a bronze kettle built in the Goryeo period, and banjan(盤盞) can be compared with the silver-plated takjan(托盞) housed by the National Museum of Korea. Juhap(酒榼) described as a liquor cask, the detail is in line with the pottery kettle of the Boston Museum of Art is noted. On the other hand, it is found that Goryeo seban(洗盤), whose name has been unclear so far, is clearly described separately.
In Gaolitujing, the arts of Buddhist metal crafts are only about kundika(淨甁), a big bell(巨鐘) at Bojesa temple(普濟寺), flagpole(幢竿), and vajra(金剛杵).
However, Jeongbyeong is very detailed in its explanation in comparison with other crafts and gives valuable help to the chronicle of Jeongbyeong in Goryeo.
Before 1346, when Yeonboksa temple bell[演福寺鐘] took place, it it revealed that there was a big beel decorated with Bicheonsang at Bojesa, the original temple. At the top of gilt-bronze Danggan rising in the ground of Heungguksa temple(興國寺) was decorated with phoenix, and it can be a record to restore Goryeo Danggan through the record of wearing a silk banner in the mouth.
Especially, the name is confirmed to be also called ‘pole of banner(幡竿)’. The mention of gold-plated Geumgangjeo kept by royal monks(王師) reveals the fact that Geumgangjeo was used as a bringing of Buddhist monks from an early age.
According to the record as shown in Xu Jing’s Gaolitujing, it is fragmentary material that was written in the Chinese official's position with disappearance of Dobon(圖本Artist’s Sketches), but it is more meaningful than any literature in that it can reveal Goryeo craft art at the time of 1123, which may disappear or cannot be restored now.

참고자료

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