충렬왕대의 시대상황과 음악정책 (Days of Chung'ryeol-Wang's reign, his agendas, and his policy of ‘music')

서지정보

· 발행기관 : 고려사학회
· 수록지 정보 : 韓國史學報 / 55호 / 117 ~ 163페이지
· 저자명 : 이강한

초록

고려후기 충렬왕의 재위기간(1275－1307)에는 여러 다양한 악곡과 가무가 창작, 연주되었고, 이에 대해 국문학계와 국악학계가 여러 다양한 연구를 진행해 왔다. 그를 통해 충렬왕대의 음악이 전란과 사회분열을 극복하고, 이전 상황의 회복을 기도한 것이었음이 지적된 바 있다.
다만 음악정책의 맥락 변화를 따지기 위해서는, 당시의 여러 상황들에 대한 역사적 진단이 필요하다. 본고에서는 <쌍화점>으로 대변되는 1270년대말의 시대상황과 과제, <태평곡>과 “상화” 관행에서 드러나는 1290년대 중~후반 충렬왕과 신료들의 문제의식, 그리고 <쌍연곡>에서 드러나는 13세기말~14세기초의 상황 등을 검토하였다.
충렬왕대 30여년을 시기구분해 본다면, 원제국과의 관계가 시작되던 혼선기, 전란 종식후 외교관계가 형성되던 안정기, 그리고 원제국 중심의 질서가 구축 되고 그러한 세계질서의 일부분으로서의 고려의 위상이 정립되던 시기 등으로 세분될 수 있다. 충렬왕대의 음악정책은 각각의 시기에 전통 수호, 국정 세련화, 외교관계 정립 등에 기여한 것으로 판단되며, 시기별로 속악(향악), 당악, 아악이 차례로 활용되었음이 흥미롭다. 아울러 충렬왕의 음악정책이 원제국 음악정책의 개시에 발맞춰 시작된 후, 시기별로 나름의 연동성을 보였던 점도 주목된다.
1270년대의 향악 및 1290년대의 당악 정비는 고려 속악 및 의종대 당악이 고려말 공민왕대로 이어지는 것을 가능케 하였고, 1300년대의 양상 변화는 충선왕대 음악정책의 ‘아악’으로의 중심 이동을 추동한 것으로 생각된다. 그런 점에서 충렬왕대를 고려후기 음악정책사의 시발점으로 평가할 수 있을 듯하다.

영어초록

During the reign of King Chung'ryeol－wang(1275－1307) of Goryeo, various songs and scores were created, played, and consumed. Scholars of Korean literature and music have already paid attention to the music of Chung'ryeol－wang's days, and explained that those songs and scores were designed and played to help the Goryeo people rebuild their own society from ashes, and to heal the Goryeo souls who were recovering from the aftermath of a bloody war.
The scholars of Korean history should be examining this topic as well, because in order to determine the true background of the music of Chung'ryeol－wang's days or the king and the government's “policy of music", an historical analysis of the period is imperative. In this article, the situation of the 1270s is reviewed through a musical score named <Ssang'hwa－jeom>, and the king and the vassals' intentions during the 1290s are examined through a musical score named <Tae'pyeong－gok> as well as the practice of “Enjoying flowers," while the changing conditions in and out of the Goryeo country of the 1300s are reviewed through a musical score named <Ssang'yeon－gok>.
The thirty－plus years of Chung'ryeol－wang's reign display roughly three phases. The first one was the phase of chaos, in which an encounter was initiated between Goryeo and the Yuan empire. The second one was the phase of stabilization, in which a diplomatic relationship was formed between the two entities. And the last one was the phase of 'establishment,' in which the Mongol Yuan empire established itself as a global empire and Goryeo's position as part of such new world order was established as well. Chung'ryeol－wang's policy of music was devised and later modified to fit the goals of each phases, for the preservation of Goryeo's traditions in the first phase, for refining the governance of the country in the second, and for recognizing the nature of the new and finalized relationship between Goryeo and Yuan in the third. In those phases, local music, Dang music, and Ritual music were utilized respectively, and important policy changes in Goryeo always coincided with certain changes in the Yuan's imperial policy of music as well.
Chung'ryeol－wang's treatment of local music in the 1270s and retrofitting of the Dang music formerly appreciated by Goryeo king Eui－jong of the mid－12th century in the 1290s, helped all those musical assets and culture to be transferred and delivered to the latter half period of the 14th century and specifically the reign of king Gongmin－wang. The changes Chung'ryeol－wang displayed in the 1300s enabled his son king Chungseon－wang to launch an entirely new approach in terms of the government's music policy. The reign of king Chung'ryeol－wang truly constituted the starting point for the history of music policy, in the latter half period of the entire Goryeo dynasty.

참고자료

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