천안 발전을 위한 한 틀의 밀알 - 윤종균 시의회의장에게 듣는다 -

윤종균 대한지방행정공제회 1994 地方行政 Vol.43 No.486

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전주 이씨 양도공파종중(襄度公派宗中) 기증유물에 대한 일고찰 :  

윤종균 국립중앙박물관·한국고고미술연구소 2010 동원학술논문집 Vol.11 No.-

국립광주박물관은 2009년 7월 16일 전주이씨 양도공파종중으로부터 이천우(李天祐) 영첩(影帖)을 비롯한 8건 20점의 유물을 기증받았다. 기증유물은 이성계의 형 원계(元桂)의 둘째 아들인 이천우의 초상화와 태종이 아낀 송골매를 새긴 이응도 목판(二鷹圖 木版), 군신이 모여 충성을 맹세한 문서를 새긴 회맹축 목판(會盟軸 木版) 등으로 조선 초기 왕족공신과 관련된 것이다. 1416년에 이천우가 관직을 사직할 때, 사냥을 좋아한 태종이 매에 빠져 정사를 그르칠까 염려하여 아끼는 노화송골과 백송골을 달라고 청하였다. 이에 태종은 친히 이천우의 초상화를 그리게 하였으며 화폭 좌우에 ‘사완산부원군천우(賜完山府院君天祐)’라 쓰고, 두 마리 매를 그리게 하여 하사하였다. 기증유물은 이러한 역사적 사실과 관련된 유물이며, 왕족인 이천우 가문의 역사와 함께 조선 초기 왕실문화를 살필 수 있는 자료이다. 특히 매 그림은 조선시대 매에 대한 인식과 함께 매 그림의 실례를 보여주는 자료로 그 의미가 크다고 할 수 있다. 필자는 기증유물 가운데 초상화와 매 그림을 중심으로 개괄적인 흐름 속에 기증 자료를 살펴보았다. 이천우 초상화는 1416년에 그려졌지만, 1682년 화재로 불에 타 1774년에 도화서 화원이었던 한종유(韓宗裕)가 옮겨 그린 것이다. 하지만 고려 말에서 조선 초기 초상화에 보이는 특징을 잘 보여주고 있어 미술사적 가치가 크다. 매 그림에 관한 자료는 많지 않으며, 그림의 내력이 전해져 오는 경우는 거의 없다. 이로 인해 매 그림에 대한 연구도 거의 이루어지지 않고 있다. 이런 가운데 이천우 매 그림 목판은 향후 매 그림을 연구하는데 중요한 자료가 될 것으로 사료된다. In 16 July 2009 the National Museum of Gwangju received a donation of twenty cultural relics of eight different kinds, including a portrait of Yi Cheonwu from Yangdogong-pa Jongjung of the Jeonju Yi Family. When Yi Cheonwu resigned his official post in 1416, he asked King Taejong to give him a blue hawk and a white hawk. Yi was concerned that the King's love for hunting with hawks would impinge on state affairs. King Taejong thereupon bestowed a portrait of Yi with the inscription 'Sawansan Buwongun Yi Cheonwu' and two hawks on the left and right of the painting. This donated painting is thus related to this historical episode. The author has conducted research on hawk paintings, focusing on portraits and hawk paintings among the donated relics. The portrait of Yi Cheonwu was painted in 1415 but was destroyed by fire in 1682. The painting, in turn, is a copy made by court painter Han Jongyu in 1774. Nonetheless, it is of high value in that this painting clearly shows transitional characteristics of portrait paintings from the end of Goryeo to early-Joseon. Korean hawk paintings of the early and mid-Joseon period are similar to Chinese paintings of the end of Yuan and early Ming as seen in the minute details, the depiction of the single hawk and the album leaf format. On the other hand, paintings by Sim Sajeong-revealed in his writing that he copied Lin Liang's style-are modelled on the Southern School, which seeks self expression rather than formal attention to detail. This trend can also be observed in the paintings by Choe Buk, Gim Hongdo and Gim Huigyeom. In late-Joseon, Jeong Heungrae painted 'Haeeungdo', which was a detailed hawk painting. Such iconography can be compared with that in Lang Shining's Qing dynasty paintings. However, by the end of the Joseon dynasty Jang Seungeup painted hawks on folding screens of animals and birds, following the Qing literati pictorial tradition. Among folding screen paintings, the depiction of a hawk sitting on a rock, as seen in the painting by Jeong Heungrae, re-appeared in this period.

디지털(Digital) 기법을 이용한 전시 :  

윤종균 한국고고미술연구소 2003 동원학술논문집 Vol.6 No.-

21세기는 문화정보의 시대로 웹을 통한 지식정보 제공뿐만 아니라 전시를 통한 시각적 전달과 대중과의 감성적 소통이 융합된 복합문화적 이미지 교육을 원한다. 그리고 교육 역시 인지 발달이 아닌 감성 발달 위주로 변하고 있으며, 교육 방식 역시 Minds-on과 Hands-on을 추구하고 있다는 점에 주목해야 한다고 보았다. 이러한 관점에서 필자는 전시와 교육이 융합된 감성체험의 전달방식의 하나로 디지털 전시기법을 소개하였다.

나주 복암리 정촌고분 출토 금동신발 문양 소재 연구

윤종균 국립중앙박물관·(社)동원고고미술연구소 2022 동원학술논문집 Vol.23 No.-

Gilt-bronze crowns and shoes unearthed in tombs from the Three Kingdoms period have been highlighted by academics as the most prominent artifacts for reflecting the social standing of a buried person. This paper aims to explore the meanings of the subject matter found in the designs on the Gilt-bronze Shoes Excavated from the Jeongchon Tomb through a comparative analysis of designs on gilt-bronze crowns and shoes from regions controlled by the Baekje Kingdom and on mural paintings from Goguryeo tombs. The designs on the Gilt-bronze Shoes from Jeongchon Tomb are symbolic expressions of the ascent to immortality and display its temporal progression. The earliest stage of this progression is represented by the designs on the soles of the gilt-bronze shoes. In the middle of the shoe’s sole is a lotus flower with a monster depicted above and below it. These two monsters from the earthly world uphold the lotus flower, which represents the sky of the heavenly realm. This composition can be viewed as a preparatory stage for ascending to immortality. The depiction of a lotus flower and monsters is presumed to have symbolically articulated a preparatory stage in which a dragon-shaped monster metamorphosized into a lotus flower and entered into the realm of the immortals by undergoing a number of changes while riding on another dragon. One of the designs on the uppers of the shoes is birds, which are considered to represent the first stage of the ascent to immortality. Birds can be either earthly creatures or heavenly versions according to their feathers and combs. The right shoe is decorated mostly with earthly birds, and the left shoe with heavenly versions. Thus, the designs evolve from the right shoe to the left. Another design on the uppers of the shoes is dragons. On the right side of the right shoe are two groups of five interlocking dragons that face one another with their mouths closed to create a balance of yin and yang energy. The left side of the right shoe also shows two groups of five interlocking dragons, again striking a balance between yin and yang. However, a difference is apparent in their mouths: Five of them hold their mouths open, but the other five keep them closed. The left shoe is adorned with a winged dragon with its subordinate dragons, jeongni and cheonggyu, which indicates that this winged dragon is superior to the dragons depicted in the right shoe. The hierarchy in the composition moves up from the right shoe to the left. The other design on the uppers is auspicious figures and animals, including the gods of the earth, who are regarded as supreme beings. The gods of the earth on the right shoe are facing and interacting with each other, while those on the left shoe are depicted looking ahead and proceeding as the dragons move forward. Such depictions signal the temporal progression from the right shoe to the left. The left shoe shows younger gods on its right side and older gods on the left, indicating a temporal movement from the right to the left. As for the auspicious animals, two human-headed birds, respectively examples of the creatures known as cheonchu and manse, emerge in the lower section of the right side of the right shoe. The manse is followed by the cheonchu while looking back at it and interacting. Above the cheonchu and manse are two animal-headed birds known as bugwi and gilli. The gilli is on the fore sole and looks back while leading the bugwi, and the bugwi turns its head to look at the deer and bieo (a fish with wings and legs) that follow behind on the left side of the right shoe. The winged and legged fish in the lower section of the left side is proceeding toward the fore sole. Five deer, including cheollok (a type of mythical deer with a horn shaped like a bird’s comb), are depicted here. On each side of the left shoe are five deer as well. The right side of the left shoe includes a cheollok with a large horn, while the left side shows a cheollok with a short horn. Dragon-shaped projections are attached to the toe caps of the shoes. These projections have necks which are considered an indicator for the ascent to heaven and symbolize dragons in the final stage of ascending to immortality. They are thought to have served as a medium for the buried person to ascend to heaven while leading the creatures on the uppers and soles of the shoes. The Gilt-bronze Shoes Excavated from the Jeongchon Tomb in Naju contain an assembly of designs materializing the Taoist thinking on immortals that were current at the time. Such designs are transformed and upgraded versions of the Taoist designs found on gilt-bronze crowns from the late fourth and early fifth centuries. They appear to have been applied most frequently in the late fifth century. The designs on the Gilt-bronze Shoes from Jeongchon Tomb that reflect Taoist concepts share affinities with mural paintings from Goguryeo tombs, attesting to ideological similarities between the Baekje and Goguryeo Kingdoms. Taoist concepts developed further during the Sabi period. However, with the spread of Buddhist ideology that renounced glamor during physical life, Taoist designs are presumed to have been simplified. Moreover, the development of Buddhism is believed to have resulted in the disappearance of resplendent tomb furnishings and the downscaling of previously gigantic tombs.

장한종 어해도 소재의 생태학적 분석 및 장황 재구성

윤종균 국립해양문화재연구소 2017 해양문화재 Vol.10 No.-

일호 남계우(一濠 南啓宇)의 나비 그림에 대한 일고찰

윤종균 한국고고미술연구소 2014 동원학술논문집 Vol.15 No.-

남계우는 나비에 대한 사실적 생태묘사와 함께 군접도(群蝶圖)라는 새로운 형식의 나비 그림을 그린 문인 화가이다. 그의 나비그림은 백과사전식 학문을 추구하던 당시 실학자적 태도를 견지한 문인화가의 면모를 잘 보여준다. 남계우의 나비 그림은 기존의 나비 그림과 달리 다양한 나비가 등장하여 일종의 나비 백과사전식 그림으로도 볼 수 있다. 나비의 표현도 크기에 대한 정확한 비율과 함께 골격까지 구체적으로 묘사하며, 암수 구별의 성징까지 놓치지 않고 그리는 등 나비의 생태적 특징까지 담아냈다. 이 글에서는 국립중앙박물관 소장 《화조영모화첩》(본관 7953)과 《화조팔폭병풍》(덕수 4118), 《일호화첩》(덕수 915) 등을 중심으로 여러 작품과 비교하며 그 특징을 살펴보았다. 또한 남계우가 일정한 화본을 만든 후 이것을 조합하여 제작한 과정과 아울러 나비 그림의 생태적 고찰을 통해 기존에 남계우 그림으로 알려진 일부 작품의 화풍에 대해서도 고찰하였다. Nam Gyewu was an artist who painted new type of butterfly. He usually described the realistic life of Butterfly groups. His butterfly paintings were not just for the appreciation but the expression of his practical attitude as a literary artist who pursued the encyclopediac study. In the ecological and positive point of view, this paper compared and reviewed his paintings in detail. The production periods of his works in National Museum of Korea were checked, and the expressions in some pieces that had been known as Nam’s painting were examined. As a result, his works in National Museum of Korea turned out to have a lot of similarities in the form and detailed description of butterflies and plants in the background. This was thanks to his meticulous sketching attitude. He actually collected butterflies and made a close observation. So, he could express not only the shape and color of butterfly but also its detailed elements such as vein structure and marking on the wing as they actually were.

법주사 대웅보전 삼신불 복장(腹藏) 조사

윤종균 국립중앙박물관·한국고고미술연구소 2002 동원학술논문집 Vol.5 No.-

본고는 충청북도 보은군 법주사 대웅보전(보물 제915호)에 모셔진 삼신불의 수습조사 결과를 바탕으로 작성하였다. 국립청주박물관에서 2002년 4월 22일부터 24일까지 3일간에 걸쳐 행한 이 조사는, 2001년 8월부터 2004년 12월까지 문화재청에서 실시한 대웅보전 해체보수공사와 연관된 것이다. 조사 결과, 복장유물은 이미 교란된 상태이나 발원문과 조성기를 비롯한 다양한 불복장물이 있음을 확인할 수 있었다. 불상 발원문과 조성기를 통해 대웅보전이 1592년에 불탄 후 1626년에 불상 삼존을 만들고 1747년에 개금 불사를 하며 불복장을 하는 등의 삼신불의 조성내력을 알 수 있었다. 또한 다양한 시주자 명단과 참여한 비구명(比丘名)이 있어 당시의 사회상과 법주사의 역사를 확인할 수 있었다.

망이산성 출토유물의 성격

권상열,윤종균,성재현 한국고고미술연구소 2005 고고학지 Vol.14 No.-

충북 음성군 망이산성(望伊山城) 출토유물은 2001년 12월 국립청주박물관에 신고된 발견매장문화재이다. 국립청주박물관에서는 출토지에 대한 현지조사를 실시하였으나, 신고지는 이미 약수터의 휴식공간으로 정지되어 있어 유구 및 출토상황을 전혀 확인할 수 없었다. 출토유물들은 산성 내 봉수대의 남쪽 경사면 아래에서 발견되었으며, 철제갑옷을 비롯하여 철부(鐵釜), 주조철부(鑄造鐵釜), 토기편 등이 함께 출토되었다. 이 가운데 철제갑옷은 그 동안 백제지역에서 출토예가 매우 드물었던 무구류의 하나로서, 더구나 보존상태가 양호하여 거의 원형을 유지하고 있다는 점에서 학술적 가치가 대단히 높은 것으로 생각되며 나머지 유물 역시 유적의 성격이나 지역 역사를 이해하는데 있어 고고학적으로 중요한 자료라 생각된다. Artifacts were discovered from the Mangyi mountain fortress (Yangdeok-ri, Eumseong county, North Chungcheong province) during construction of a resting place near a mountain-hiking trail. The retrieved artifacts include iron armor, iron pot, iron axe, clamps, and potsherds. The Mangyi mountain fortress is located in the central inland region of the Korean peninsula, which is considered the central place in transportation. The fortress also commands a fine view over a large area and sits on a location that had been strategically important since the Three-Kingdoms period until the Chosun period. Excavations at the location have revealed Baekje pottery, as well as artifacts dated to the Unified Silla period and the Goryeo period. Remains of the Baekje earthen fortress also deserve recognition. The artifacts being introduced in this paper, along with those already reported, provide important archaeological information that not only sheds light on the Mangyi mountain fortress itself, but also on the regional history. Although contextual information of the artifacts and the associated archaeological features have not been reported well due to the construction project at the site, we conclude that these artifacts are dated from the fourth to the fifth century AD. based on stylistic features. In addition, it should be emphasized that the discovery of iron armor is almost unprecedented in the Baekje region. The iron armor found at the site is very important in studying ancient weapons and their development over time. The cast-iron axe, clamps, and potsherds are stylistically similar to those found in the neighboring regions. Through these artifacts, we will be able to study the political situation of the region during the Three-Kingdoms period. The primary importance of the artifacts discovered from the Mangyi mountain fortress lies in their contribution to the studies of regional history.