朝鮮後期 統制營 畵員 硏究 (A Study on Painters in Tongjeyeong in the late Joseon Dynasty)

서지정보

· 발행기관 : 동아대학교 석당학술원
· 수록지 정보 : 석당논총 / 39호 / 289 ~ 328페이지
· 저자명 : 이현주

초록

이 글은 조선후기 통제영에 파견된 圖畵署差遣畵員의 양상과 그들의 官需繪畵활동에 대해 살펴본 것이다.
조선후기 궁중화원은 도화서 소속 화원과 정조년간 체계를 갖춘 규장각 소속의 자비대령 화원으로 크게 분류할 수 있다. 그러나 이들 모두 궁중을 근거지로 회화활동을 한 것으로 궁중외의 각 도에 설치된 군영․감영 등의 행정․군사조직에서 회화업무를 수행했던 화원은 도화서에서 파견되었다. 특히 행정적․군사적으로 중요한 거점이었던 통제영에는 도화서에서 오래동안 부지런히 근무한 사람 1명을 선발하여 화사군관으로 2년간 배치하였다. 현재 확인되는 통제영 화원들은 1714년부터 1823년까지 22명으로 이들은 畵員 또는 畵師의 직분으로 기록되어 있고 거주지는 모두 ‘居京’이다. 이 가운데 박창후에게는 副司果란 직책이, 이명규에게는 前主簿의 직책이 명시되어 있다.
이들은 근무기간동안 통제영의 군현지도 및 군사용 陳圖, 상부보고용 圖畵와 의장용 장식화 및 기념화 등 관수회화업무의 소임을 다하였다. 그리고 통제영 재임기간이후에는 다시 궁중으로 복귀하여 의궤나 어진제작 등 궁중회화업무를 다시 수행하였다.
이들 통제영 화원들은 도화서차견의 일례를 보여줄 뿐 아니라 중앙집권체제의 강화, 실증주의의 확대 등 조선후기 정치사회적 변화의 일환으로 인해 군영에서의 화원의 역할과 임무가 다양해지고 그 중요성이 확산되는 양상을 제시한다.

영어초록

This paper examines some aspects of painters dispatched from Dohwaseo (Drawing & Painting Authority) and their official activities of drawing and painting in Tongjeyeong (a naval base in the Joseon Dynasty).
A Court painter in the late Joseon Dynasty Period can be broadly classified into two types: a painter at Dohwaseo and Jabidaeryeong Hwawon, selected stand-by Court painter for special tasks at Gyujanggak, the royal library of the Joseon Dynasty which was systematized during the reign of King Jeongjo (the 22nd King of the Joseon Dynasty). Both took part in painting, with the Court as the base of operations. However, painters who performed their official duties in drawing and painting at military and administrative districts such as Gunyoung and Gamyoung of each province, were dispatched from Dohwaseo. Dohwaseo selected a diligent painter in long service and dispatched them to Tongjeyeong, an administrative and strategic point during the late Joseon. The selected painters worked there for two years both as a painter and officer. As of today, confirmed painters in Tongjeyeong from 1714 to 1823 are 22. They were placed on record as a position of Hwawon or Hwasa, and their places of residence were all in 'the captical city'. Among them, only Myeong-gyu Lee was Jabidaeryeong Hwawon as well as Hwasajeonjubu (an officer who took charge of painting).
During the length of service in Tongjeyeong, painters were responsible for official activities of drawing and painting such as making maps of counties and prefectures, topography of camps, paintings for reporting to the ruling offices, and decorative and commemorative paintings for ceremonies. After tenure, they returned to the Court and carried out their duties as a Court painter by producing Uigwe, a collection of writings and paintings that records and prescribes the important ceremonies of the Joseon Dynasty, and Eojin, a royal portrait.
These painters in Tongjeyeong show not only an example of the dispatch of painters at Dohwaseo but also some aspects that their roles and duties at the camp became diverse and recognized due to the sociopolitical changes in the late Joseon Period including the reinforcement of a centralized administrative system and the spread of positivism.

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