『上海書莊各種書籍圖帖書目』에 나타난 19세기 후반 중국서적 판매와 조선유입

이혜정 한국서지학회 2019 서지학연구 Vol.80 No.-

The late 19th century, a list of books which is Sanghae Seojang gakjong Seojeok Docheop Seomok(上海書莊各種書籍圖帖書目) had been sold in China. Shanghai Bookstores in owned a collection, and leaflets and flyers of the book distributed. It had been compared with a collection of books in King Gojong’s library, is called Jibokjae (集玉齋). As one might expect, the book in Shanhai can be imported into Joseon to Jibokjae. There were many western scientific books in Jibokjae. It is presumed to be purchased form Shanghai Bookstores. It is expected that the Qing(淸)’s book in the late 19th century can supply important clues to study how the books are issued for use by the public. 이 글은 19세기 말 상해의 서점에서 판매하던 서적을 기록한 『上海書莊各種書籍圖帖書目』을 분석하고, 그 서적을 수입했을 것으로 예상되는 集玉齋 소장 서적과 비교한 것이다. 상해의 서점에서는 당시 판매하던 서적을 목록으로 만들어 배포하였는데, 목록을 살펴보면 상해 서점에서 판매하던 서적 중 신간 도서나 석판 인쇄 기술로 간행한 책을 중심으로 목록을 작성하고 있다. 따라서 이 목록을 분석함으로써 1888년 즈음의 상해 서점의 서적 판매 현황을 알 수 있을 것으로 예상된다. 고종의 서재로 알려진 집옥재 소장 서적 목록인 『집옥재서적목록』을 살펴보면, 상해에서 판매하고 있던 서명이 나타나며 그 실물이 서울대학교 규장각한국학연구원에 소장되어 있어 판매 목록과 입수된 서적을 서로 비교 분석할 수 있을 것으로 보인다. 상해에서 판매되고 있는 도서 목록을 조선 왕실에서 입수하여 필사한 후 필요 서적을 골라 구입했던 것으로 추정된다. 19세기 말 왕실 뿐 아니라 사대부 집안에서도 중국 서적을 상당수 소유하고 있으므로 이 연구를 통해 중국 서적의 조선 내 유통 양상을 살펴볼 수 있는 단서를 제공할 수 있을 것으로 보인다.

조선 궁궐 장서목록에 저록된 中國 叢書의 목록화에 대한 試論

김은슬 서울대학교 규장각한국학연구원 2023 규장각 Vol.62 No.-

The ancient books kept in Gyujanggak in Changgyeonggung Palace in Joseon Dynasty were moved from place to place before being transferred to the Kyujanggak Institute for Korean Studies at Seoul National University. In this process, the arrangement of books was completely different from that of the Joseon Dynasty. The Chinese Ancient Book Series (叢書, Congshu) contains many books, which are also divided into each books. In this paper, by examining the cases of contained in the Joseon Palace Library Inventory, Jibokjae-Seojeokmokrok(集玉齋書籍目錄) and Jipkyeongdang-Posoiseomok(緝敬堂曝曬書目) , a plan for a catalog of Chinese books was presented. ChossiChongseo(焦氏叢書) is a book owned by the Kyujanggak Institute of Korean Studies, and you can most certainly see the current situation. The original appearance at the time of publication was re-connected through the work of finding and confirming the part where the “Chossi Chongseo” was saved in the west neck of the Joseon Dynasty. The cataloging methodology of the Chinese Ancient Book Series(叢書, Congshu), which is not currently being carried out in the ancient book catalog of Korean libraries, was presented. The characteristics of the book can be properly identified only when the Series Statement is recorded in both the Chinese General Book and the Memorandum of Understanding. This cataloging method is already being carried out in China, Japan, the United Kingdom, and the United States, but has not yet been carried out in Korea. After this, it will be possible to connect the current books with the Joseon Palace Library Inventory. This will enhance the value of the Kyujanggak Institute for Korean Studies collection and the excellence of the Joseon Palace Library Inventory. Such work should be generally preceded when cataloging Chinese ancient books, and if it is carried out, it will be able to provide more detailed and accurate information about the book.

집옥재서적목록의 서지적 분석

이혜정 한국서지학회 2021 서지학연구 Vol.85 No.-

Research on Jibokjae (集玉齋), known as King Gojong’s library is being conducted in various fields. However, there have been insufficient basic study on a bibliographic analysis of the Catalogue of books in Jibokjae (集玉齋書目). For an in-depth report on Jibokjae as a library, we have to approach a basic study of the lists. So this study figured out the present situation of the Catalogue of books in Jibokjae, and the order in which the titles are listed. I also analyzed how to write titles, names, volumes and general notes. Finally, I compared differences of tiltes and volumes in 5 type lists, and distinguished an edition of 5 type lists and issued date. Based on this study we can see how books were managed in the royal library especially jibokjae, by looking at the way in which they were compiled. It will be possible to provide a clue for identifying the Royal library(帝室圖書館). 고종의 서재로 알려진 집옥재에 대한 연구는 다방면에서 진행되고 있지만 기초적인 연구가 부족하다. 따라서 이 연구는 집옥재를 보다 심층적으로 연구하기 위한 기초적인 작업의 일환으로 집옥재서목을 서지적으로 분석하였다. 현존하는 5종의 집옥재서적목록의 현황을 파악하고, 서명의 수록 순서나 서명․저자․소장본․주기사항을 표기하는 방식에 대하여 알아보았다. 마지막으로 5종의 서목에서 나타나는 서명의 변화와 장서 종/수의 차이를 비교하였으며, 작성 시기와 순서 등을 살펴보았다. 집옥재서목을 작성했던 방식을 살펴봄으로써 조선에서 궁궐 내 서적을 어떻게 관리하고 있었는지를 단편적으로 확인할 수 있으며, 제실도서관을 파악하기 위한 단초를 제공할 수 있을 것이라고 생각한다.

集玉齋 소장 書畵‧金石 자료와 고종대 문화변동 연구

유순영 온지학회 2022 溫知論叢 Vol.- No.71

This thesis investigates the visual, calligraphic, epigraphic materials in the Jibokjae library, and examines the internationality of the materials of Jibokjae in terms of painting, calligraphy and book distribution in East Asia at the end of the 19th century. Furthermore, I examines the changes in the art phenomenon of the Gojong era based on the characteristics and visual images of the collected materials in the Jibokjae library. The visual, calligraphic, epigraphic materials in the Jibokjae library consist of painting history and picture theory books, painting manuals, scenic prints, character prints, books about government-education and new culture-modern visual knowledge, Japanese materials, epigraphic books, calligraphy and painting prints. The lithography prints containing traditional knowledge of China and the trend of contemporary Shanghai calligraphy and painting occupy a large part. This is connected with King Gojong's perception of the era, who tried to respond to a new era by using the Qing change as a model. Large number of materials collected in Jipokjae were published in Dianshizhai, Shenbaoguan, Tongwenshuju, Xingsucaotang, and Jiangzuoshulin. Especially, publications of Dianshizhai and Tongwenshuju occupy a high proportion. The publication competition between Dianshizhai and Shenbaoguan is confirmed. The role of the Shanghai bookstores as a space of the circulation of Japanese editions and Chinese calligraphies and paintings is also noted. Based on the characteristics and visual image of the materials collected from Jipokjae, the change of art culture is researched from two aspects. The spread of Shanghai painting style in the flower-birds, animals, and four gentlemen paintings is examined focusing on newly researched contents. The change in the taste of painting and calligraphy at the court is targeted at visual objects that acted on epigraphic studies, antique tastes, and auspicious desires. A verse couplet carved on a plank which is put on a pillar in palace is also the subject. 이 논문은 집옥재 수집 서화‧금석 자료를 조사, 분석하고 19세기 말 동아시아의 서화와 서적 유통 측면에서 집옥재 자료의 국제성을 살피며, 수집 자료의 성격과 시각 이미지에 근거하여 고종대 미술현상의 변화를 고찰한 것이다. 집옥재에 수집된 서화‧금석 자료는 畵史와 畵論書, 畵譜, 명승도류, 인물 판화, 통치 및 교화, 신문물과 근대 시각 지식, 일본 자료, 금석서, 서예와 회화 자료로 이루어져 있다. 서화와 금석 관련 저록, 화보, 서예와 판화, 통치와 개화 관련 서적이 수집되었고, 일본 자료도 한 부분을 차지한다. 중국의 전통 지식과 동시대 상해의 서화 경향을 담은 石印本이 대종을 이루는 것은 淸의 변화를 모델로 새로운 시대에 대응하고자 한 고종의 시대 인식과 상통한다. 집옥재 수집 서화‧금석 자료는 點石齋, 申報館, 同文書局, 行素艸堂, 江左書林에서 출판된 것이 다수를 이루며, 점석재와 동문서국 발간본이 높은 비중을 차지한다. 서구 자본으로 운영된 점석재와 중국인이 경영한 동문서국의 출판 경쟁은 서화 자료에서도 확인되며, 일본 판본의 유통과 서화 유통 공간으로서 상해 서점의 역할도 주목된다. 집옥재 수집 자료의 성격과 시각 이미지에 근거하여 미술문화의 변동을 두 가지 측면에서 고찰하였다. 화조, 영모, 사군자에서 상해 화보의 유입과 해상화파 화풍의 확산을 새로 파악되는 내용을 중심으로 살펴보았으며, 금석학과 골동취미, 길상적 욕망이 복합적으로 작용하는 시각물과 궁궐 주련을 대상으로 궁중의 서화 취향이 변화된 측면을 고찰하였다.

『集玉齋書目』 분석을 통해 본 고종의 개화서적 수집 실상과 활용

장영숙 한국근현대사학회 2012 한국 근현대사 연구 Vol.61 No.-

This article analyzed 『Jibokjae Seomok』 a library catalog for Gojong’s personal study, Jibokjae which owns a considerable amount of Chinese books and enlightenment books imported from Japan and the West collected, arranged and prepared by Gojong. 『Jibokjae Seomok』 reports a catalog of books more than 40 thousands books; among them, the enlightenment books are more than 260 kinds and about 1,450books. This corresponds to 3.6% of entire list. The enlightenment books are of various academic categories collected from educational books of humanities which inform international trend and world history and geography to the books of natural science. Especially, books of natural science, electricity, telegraphy, military and weapon were collected and owned in huge quantity. It signifies that Gojong and other classes with power were interested in the fields of natural science as a basic study necessary for producing new weapons to realize national prosperity and military power and in the fields of telegraphy and equipment in relation with building diplomacy and communication channels. The collection and distribution channel of enlightenment books were envoys to China called Yeongseonsa, the investigation and inspection group who went to Japan, and the West contacted through Bakmunguk, a publication agency at the end of the Joseon Dynasty. In addition, Joseon Dynasty published actual material of trade relations as necessary, or they sometimes translated and published modern study and up-to-date knowledge of the West to circulate them. As for the application of enlightenment books, the science technology-related modern study learned by the Yeongseonsa group became operational foundation for the operation of Gigichang, an arsenal. The articles of ≪Hanseongsunbo≫ and ≪Hanseongjubo≫ which took advantage of the knowledge of science books are the cases of social application as they brought about social curiosity and interest in the science. Besides, the enlightenment books were used as language, geography, history, math, medicine and science materials at the schools such as Dongmunhak, Wonsanhaksa and Yukyeonggongwon where can be said to be the starting point of modern education. The enlightenment books collected by Gojong took the important role in expanding the modern knowledge for members by being utilized in social and educational perspectives in Daehan imperial era as well as in actual promoting the enlightenment policy as the fundamental data in 1880. Consequently, it could be a reason for evaluating Gojong as an enlightened monarch as it could be done by his passion and activeness for the enlightenment.

집옥재 소장 조선본의 유래와 주제별 분류

이혜정(Lee, Hye-jung) 한국학중앙연구원 2021 장서각 Vol.- No.45

고종의 서재로 알려진 집옥재에는 수많은 서적이 소장되어 있다. 그 서적을 정리하여 목록으로 만든 것이 『집옥재서적목록』이다. 『집옥재서적목록』에 수록된 대다수의 서적은 중국본에 해당하고, 조선본과 일본본이 일부 포함되어 있다. 본고는 집옥재에 소장되었던 서적 중에서 조선에서 간행된 서적을 선별하여 분석한 것이다. 우선 집옥재로 이관되기 전에 소장하고 있었던 기관을 여러 서목과 장서인을 통해 파악하였다. 원 소장처로는 집경당, 규장각, 융문루, 시강원, 홍문관 등이 확인된다. 그다음으로 집옥재 소장 조선본을 經史子集 주제별로 분류하여 살펴보았다. 『집옥재서적목록』에 수록된 조선본 중에서 현재 규장각이나 장서각에서 확인되는 것(현존본)이나, 현존본을 찾을 수 없는 것(미확인본), 『집옥재서적목록』에는 수록되지 않았으나 실물 책에 〈集玉齋〉 인장이 날인되어 있어 집옥재소장본임을 알 수 있는(미기재본) 조선본도 별도로 파악하였다. 집옥재 소장 도서 2,567부 중에서 조선에서 간행한 자료는 총 404부로, 그중 219부는 현존본, 123부는 미확인본, 62부는 미기재본에 해당한다. 총 404부의 서적 중 경부는 199부(현존본 91, 미확인본 90, 미기재본 18), 사부는 113부(현존본 70, 미확인본 19, 미기재본 24), 자부는 55부(현존본 36, 미확인본 9, 미기재본 10), 집부는 37부(현존본 22, 미확인본 5, 미기재본 10)의 서적이 수록되어 있다. Jibokjae, King Gojong’s library, has a large collection of books. This study looked into the catalogue of books in Jibokjae that organizes and lists its collection. Most of the books in the collection correspond to Chinese versions. Some of the Joseon and Japanese versions are also included. This study focused on a selection of books from Jibokjae collection, which were published in Joseon and their analysis. The books were originally housed in various organizations, with their own book lists or seals of corresponding organizations. Therefore, it is possible to find each book’s place of origin by comparing their lists and seals. Next, the books published in Joseon which are housed in Jibokjae, were classified by subject. Then, they was analyzed in three parts: the existing and non-existing ones among those which are recorded in the catalogue of books in Jibokjae, and those not listed. The library has a total of 2,567 books, of which 404 were published in Joseon.

고종대 궁궐 내 현왕 어진봉안처의 변화와 ‘규장각’ 계승

이민아 서울대학교 규장각한국학연구원 2021 한국문화 Vol.- No.95

King Sukjong(肅宗) was the first king to build the King’s portrait house. After that, the tradition of erecting the King’s portrait house continued with King Gojong(高宗). King Gojong wanted to rule directly against Heungseon Daewongun(興宣大院君). In the process, Geoncheonggung(乾淸宮) was built to enshrine the portraits of the king. Geoncheonggung was a building that advocated the succession of ‘Kyujanggak(奎章閣)’. ‘Kyujanggak’ was a building built by King Jeongjo(正祖) in the backyard of Changdeokgung(昌德宮) Palace to enshrine the records of the previous kings. King Jeongjo enshrined his portrait here. And the Kyujanggakshin(奎章閣臣) took care of them. ‘Kyujanggak’ also served as a king’s library. For this reason, King Jeongjo kept the latest books in Kyujanggak. Since then, Kyujanggak has grown into an organization for the reformation of King Jeongjo. King Gojong continued to build houses with the same characteristics as ‘Kyujanggak’ in Changdeokgung(昌德宮) Palace and Gyeongbokgung(景福宮) Palace. Gwanmungak(觀文閣) and Jibokjae(集玉齋) were all houses that kept the portraits of the king. Also, these were the libraries that kept the latest books. King Gojong built Gwanmungak, a Western-style building, and Jibokjae, a Chinese- style building. This showed King Gojong’s will to enlighten. In this way, the foreign- style building that inherited ‘Kyujanggak’ connected the authority of the previous kings with the political orientation of King Gojong. Built during the Korean Empire(大韓帝國), Suokheon(漱玉軒) was the first Western- style building in Gyeongungung(慶運宮) Palace. This was also the building that succeeded ‘Kyujanggak’. Since then, many Western-style buildings have been built within Gyeongungung Palace. In addition, King Gojong enshrined a portrait of the emperor at the Punggyeonggung(豐慶宮) Palace in Pyongyang. The portrait of the emperor, produced in a traditional way, was enshrined in Pyongyang, a space that reveals the uniqueness of Korea through the history of Giza Joseon(箕子朝鮮). Through this, King Gojong wanted to have two capitals just like the modern western countries. In this way, King Gojong accepted the external form of Western civilization based on the tradition represented by the ‘Seonwang(先王)’. In this way, King Gojong wanted to show absolute imperial power. The king’s portrait and the building for the portrait symbolizes the king itself. From the time when King Gojong himself began to rule, he erected a building to enshrine his portraits. Through this, King Gojong showed his will to lead the operation of the state and for enlightenment. Even after the establishment of the Korean Empire, Gojong built the emperor’s portrait house. Through this, it was intended to show that the Korean Empire was equal to the modern Western state. At the same time, the people of the Korean Empire could see the divine emperor. However, fires continued to occur, politics was chaotic, and the international situation was unstable. However, Gojong built new buildings within the palace and built a new palace. Gojong continued to carry out civil works. It is difficult to say that this was an appropriate response to the crisis. Excessive attention and expense for the emperor's status only fueled national chaos in the end. .

근대 조선의 궁궐건축에 유입된 청대(淸代) 장식과 공예품 연구

조시내 동양미술사학회 2023 동양미술사학 Vol.17 No.-

본 논문에서는 외래 문물의 유입이 본격화되었던 조선의 개항 이후 한국의 궁궐건축에 유입되어 공간을 구성하고 장식했던 청(淸)의 공예품들을 파악하고, 이들의 유입 정황과 양식 특성을 고찰하였다. 조선과 청의 무역은 조청상민수륙무역장정(朝淸商民水陸貿易章程, 1882년)의 체결, 기선회사들의 경쟁, 화상(華商)의 활동 등에 의해 1880년대 이후 크게 증가하였으며, 궁궐에서 사용될 물품들은 중국 상해와 조선의 인천을 잇는 항로를 통해 청으로부터 유입되었다. 1891년 건립된 경복궁 집옥재(集玉齋)는 건축의 재료(벽돌)와 축조법, 기둥과 현판 그리고 실내 공간의 문과 격단(隔斷) 장식 등에서 중국 건축의 장식 요소들이 반영되었다. 집옥재는 청의 영향을 확인할 수 있는 궁궐건축으로써 청의 공예품 유입도 촉진하였을 것으로 판단된다. 이와 관련하여 현전하는 청의 가구, 도자기, 금속공예품 등을 종합하여 양식 특성을 비교한 결과 창덕궁에 전하는 중국 가구 일부와 도자기들은 페라나칸(Peranakan)을 대상으로 판매되었던 가구와 법랑자기(琺瑯瓷器)였으며, 청말 광동성(廣東省)을 중심으로 제작되어 전 세계로 판매되었던 광동 가구와 법랑기였다. 조선의 궁궐에 유입된 청대 공예품들은 19세기 이후 중국의 무역항을 통해 전 세계로 확산되었던 중국의 미술품 수출 산업과 밀접한 관련이 있었으며, 판매 대상과 지역에 따른 독특한 양식을 확인할 수 있어 의미가 있다. In this study, the influx of foreign cultural artifacts during Joseon's period of opening up was examined. Specifically, it focused on the Qing Dynasty's craftworks that were introduced into Korean palace architecture, contributing to the spatial composition and decoration. The study aimed to identify these imported craftworks, analyze the circumstances of their influx, and investigate their stylistic characteristics. Trade between Joseon and Qing greatly increased after the signing of the Treaty of Commerce and Navigation between Joseon and Qing (朝淸商民水陸貿易章程, 1882), competition among private trading companies, and the activities of Chinese merchants(華商), resulting in a significant influx of goods from Qing to Joseon through the route connecting Shanghai in China and the port of Incheon. The Jibokjae(集玉齋) Hall, constructed in 1891 within Gyeongbokgung Palace, incorporated decorative elements of Chinese architecture in its materials(brick), construction techniques, pillars, plaques, and interior space. It is inferred that the Jibokjae Hall, as a palace architecture reflecting Qing Dynasty's influence, would have also facilitated the influx of Qing Dynasty's art crafts. In relation to this, a comprehensive comparison of Qing Dynasty's furniture, ceramics, and metal crafts available at present revealed that some of the Chinese furniture and ceramics found in Changdeokgung Palace were primarily sold to the Peranakan community and included furniture and enamelware known as Guangdong-style furniture and enamelware produced primarily in Guangdong Province during the late Qing Dynasty, which were exported worldwide. There is a significant connection between the influx of Qing Dynasty's art crafts into Joseon's palaces and China's art export industry, which thrived in the 19th century through trading ports, and it allows us to observe unique stylistic characteristics based on the target market and region.

한국근대 답도(踏道) 건축물에 배치된 동물의 상징성 연구 - 신축(재건) 건물을 대상으로 -

김성혜 고려대학교세종캠퍼스 한국학연구소 2018 한국학연구 Vol.64 No.-

Since december 1863 enthronement of King Gojong(고종), Heungseundaewongun(흥선대원군) started to rebuilt the Gyeongbok Palace(경복궁) in order to restore the weakened Royal power and the dignity of the Royal family. Gyeongung Palace(경운궁) was designed for the status of Emperor and Empire in the process of strengthening the sovereignty and becoming the emperor and proclaiming the empire. The palace was a space where the king resides and the dignity and authority of the king is revealed and the politics of the nation is executed. Therefore The palaces had been used for various animal patterns with meaning for as a means of expressing the order pursued by the king or the dynasty and of adding beauty. Especially, Dapdo(답도, the stairway that can pass through the king) installed in Gunjongjeon(근정전) and Junghwajeon(중화전) and Wongudan(원구단) were placed an animal patterns symbolizing the king(emperor) to expose the dignity and authority of the king(emperor). During the Reign of King Gojong, the characteristics of animal patterns are summarized as follows, where was installed on Geunjeongjeon(근정전) and Jipokjae(집옥재) of Gyeongbok Palace(경복궁), Junghwajeon(중화전) of Gyeongung Palace(경운궁), Wongudan(원구단) a reconstructed or newly built Dapdo(답도). First, in the Geunjeongjeon(근정전) of Gyeongbok Palace(경복궁), various animal patterns were placed to emphasize the symbolism that is the most authoritative building in Joseon. Second, the Dapdo(답도) was installed in the Jipokjae(집옥재) and there was only one relievo of the dragon pattern in the center of the Dapdo(답도) before King Gojong is becoming emperor. Third, there was a process of change from dynasty to emperor in the selection, arrangement, technique, and form of animals patterns in Jipokjae(집옥재). Fourth, the three-door of Wongudan(원구단) were decorated with various types of dragon patterns, making it clear that it was the space of the emperor. Also such a style of three-door of Wongudan(원구단 삼문) was almost became the standard for structure of animal patterns in the Jungwhajeon(중화전) and Jungwhamun(중화문) of gyeongung palace(경운궁). Fifth, in the Junghwajun(중화전) of Gyeongung Palace(경운궁), the differentiation from the time of the dynasty was planned by actively using dragon patterns and golden colors. A lot of animal patterns had been placed Kenjeongjun(근정전) of Kyungbok Palace around for the purpose of rebuilding the prosperity of Joseon dynasty's establishment. From the animal patterns of Jipokjae(집옥재) was revealed the process of transition from the dynasty to the empire. The animal patterns of three-door of Wongudan(원구단 삼문) was selected and reconstructed as a pattern suitable for the emperor and empire, based on the composition of the Joseon Dynasty. And then these styles were succeeded to the Jungwhajeon(중화전) of Gyeongung palace(경운궁). In other words, the Gyeongun Palace(경운궁) and Wongudan(원구단) was created as a symbol of the Korean Empire(대한제국) that was promoted through the differentiation of patterns. As a result, we could see the glory of the Joseon Dynasty from the animal patterns of Gunjeongeon(근정전), a strong will for independence and modernization of King Kojong from Jipokjae(집옥재), the intersection of tradition and modernity and the intersection of dynasty and empire from gyeongung palace(경운궁) and Wongudan(원구단). 답도는 왕(황제)만이 지날 수 있는 길이다. 답도가 설치된 공간에는 왕(황)실과 왕조(제국)가 지향하는 바와 질서를 표출하고, 아름다움을 더하기 위한 수단으로 각각의 의미를 가진 동물 문양을 적극 배치함으로써 그 위엄과 권위를 대변·표출시키고자 했다. 한국근대 재건·신축되고 답도가 설치된 장소는 경복궁 근정전 및 집옥재, 환구단 삼문, 경운궁 중화전이다. 이곳에 놓인 동물의 특징을 정리하면, 첫째, 경복궁 근정전에는 다양한 서수를 사방 각처에 배치해 조선 최대의 법전이라는 상징성을 부각시키려 했다. 둘째, 1891년 창덕궁에서 옮겨온 집옥재에는 법전이나 법전의 문에만 있는 답도가 설치되었고, 고종의 황제 등극 이전으로써는 유일한 용 문양의 부조가 답도 중앙에 놓여 있다. 셋째, 집옥재 일원의 동물 선택이나 배치 및 만든 기법과 형태로부터는 왕조에서 황제국으로 나아가는 궁궐 건축물의 동물상 변화과정이 드러난다. 넷째, 원구단 삼문 구역은 다양한 형태의 용으로 꾸며 황제의 공간임을 분명히 했으며, 삼문의 양식이 거의 그대로 중화전과 중화문의 동물상 배치 구조가 되었다. 다섯째, 경운궁 법전인 중화전에는 용 문양과 황금색을 적극 사용해 왕조 때와의 차별화를 도모했다. 경복궁의 근정전은 조선 건국 당시의 번영을 재건하려는 목적에서 다양한 동물상으로 화려하게 치장되었다. 고종이 독자적인 정치영역을 확보하면서 만들어진 집옥재의 동물상으로부터는 왕조에서 제국으로 가는 변천 과정이 드러난다. 원구단 삼문의 동물상은 조선왕조의 구도를 바탕으로 하면서도 황제와 제국에 맞는 문양으로 선택·재구성되었고, 이것이 경운궁 중화전의 양식으로 계승되었다. 그 결과 근정전 답도의 동물상으로부터는 조선왕조의 영광이, 집옥재로부터는 고종의 강력한 독립과 근대화의 의지가, 경운궁과 원구단으로부터는 전통과 근대가 접목되고 왕조와 제국이 교차하는 시대상을 엿볼 수 있다고 하겠다.

구한말 왕실소장 일본미술 서적의 조사 및 연구

황빛나(Hwang, Binna) 한국미술연구소 2021 美術史論壇 Vol.- No.52

Jangseogak(藏書閣) of The Academy of Korean Studies and Kyujanggak(奎章閣) Institute for Korean Studies at Seoul National University contain more than 30 catalogs of a number of classics from the Joseon Dynasty from the reign of King Gojong(高宗) to the Japanese occupation. Among them, unlike the Korean and Chinese editions of which the bibliography is arranged as a separate book and the entire contents of the book can be confirmed, a comprehensive investigation involving the two institutions has not been conducted on the Japanese books belonging to the former Joseon royal family. This study examines the general condition, types, and characteristics of the books of the Joseon royal family published in Japan, focusing on the ‘art’ books. According to the research results, many of the Japanese books purchased by the royal family or stored through donations are largely related to the hogo(好古) and Literary and nobleman taste that have been prevalent in East Asia since the 19th century. This reflects the antinomy coexistence phenomenon of dual values, such as the Dongdoseogi(東道西器), which many of the bureaucrats of Korea and Japan had in the modern era. In the future, it is expected that a more advanced discussion will be possible through individual in-depth research on Japanese art books owned by the royal family.