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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. .
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한정수(Han, Jung-Soo) 한국사학회 2012 史學硏究 Vol.- No.107
이 연구는 고려시대 태조 숭배의 양상과 그 의미를 정리하여 고려시대 왕조운영의 특징을 찾아보려는 것이다. 이를 살펴보기 위해 먼저, 왕실 혈통 및 태조의 탄생에 대한 신성화 내용을 검토하였다. 다음으로 태조 사후 전개된 태조 추앙 및 숭배의 양상에 대해 국가적 제사 즉 길례적제의(祭儀) 중 관련 내용을 정리했다. 마지막으로는 신앙 및 종교와 관련한 태조 숭배 내용 이해를 위해서 연등?팔관회, 태조소상 조성 및 진전사원 운영, 태조무재일 이해 등을 살펴보았다. 요약하면 다음과 같다. 먼저 태조 사후 지속적으로 추구된 태조 세계(世系), 탄생 등에 대한 신성화의 내용을 검토하였다.『고려세계』를 보면, 설화적 이야기를 통해 태조의 혈통을 신비화하고 있었다. 또 예언적인 풍수도참을 통해서는 태조를 삼한일통의 군주이자 용손(龍孫)의 뿌리로 상징화하였다. 나아가 성조화(聖祖化)를 통해 태조는 고려왕조의 상징으로 승화되기에 이르렀다. 이 같은 위상을 가진 태조는 원구의, 태묘의, 경령전 및 성용전, 현릉 등국가 제사를 통해 상제에 짝하는 배위이자 불천지주로서 자리매김되었다. 따라서 신성한 상징으로서 고려 국왕의 정기적 참알과 봉향의 대상이 되었다. 이와 함께 고려에서는 태조가 개최하기를 유언한 연등?팔관회를 가장 성대한 가례(嘉禮)로 행하였고, 태조를 상징하는 봉은사 진전 참알 및 봉향과 법왕사 행향 등을 친행하였다. 태조 추모와 숭배가 주기적으로 반복되면서 신앙화된 면이 나타난 것이다. 신성함의 상징인 태조소상과 진영이 조성되었고, 이를 중요 사찰에 봉안하기도 하였다. 태조가 행한 애민의 면은 기곡(祈穀)과 기양(祈禳)을 위한 기도의 승화 즉 태조무재일로 상징화되었다. 태조 숭배와 신앙이 만들어낸 바라 할 수 있다. 이처럼 태조 혈통, 태조 탄생 등은 당대의 기록과 후대의 수식을 통해 신성화되었다. 그리고 이는 다시 제사 및 신앙 종교 활동 속에서 주기적으로 재생산되었다. 태조 숭배와 신앙으로 이어진 것이다. 결국 이를 통해 고려는 용조이자 성조인 태조의 후손이라는 왕실 정체성과 통치의 당위성을 확립할 수 있었고, 이는 연등?팔관회 등에서 보이듯 사회통합의 원리가 되었다 하겠다. This paper attempts to arrange the aspects of commemorating ceremonies for Taejo(Goryeo’s first king) in the Goryeo period and search for the features of the management of the Goryeo dynasty by arranging that these ceremonies were transcendentalize to be some kind of cults and beliefs. For this purpose, firstly I examine the consecration of the royal blood and the birth of Taejo. Secondly, I arrange how the commemoration for Taejo reflected in the ancestral rites of national level. Finally, I try to find the commemoration for Taejo relating the belief and religion. By this process, I have come to some conclusion. The blood and birth of Taejo was consecrated by the records of that time and the emblazonment of late time. Taejo, who left Hunyo 10cho(10 injunctions for his successor to observe) and accomplished the unification of three Han, was reproduced periodically in the ancestral rites of national level and the activity for religion and belief as the divine progenitor. He was also the object of wish for national safety. From these phenomena, we can understand the meaning of the cult and religion for Taejo. Eventually Goryeo was able to establish the appropriateness of rule by the establishment of royal identity and authority from the fact that Taejo was the divine progenitor relating the dragon. As we can see in Yeondeunghoe(Lotus lamp ceremony) and Palgwanhoe(Assembly of Eight Prohibitions), it became one of the principle for the integration of society.
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