조선시대 흉례도감의궤에 나타난 오봉병 연구 = The Five peaks screen of the Chosen Dynasty

다국어 초록 (Multilingual Abstract)

This paper aims to study the term, use and mode of a Five peaks screen(五峯屛), which is one of the decorative court painting in the category of art history Five peaks screen refers to Five peaks painting drawn on the medium of a folding screen. Five peaks painting designates a painting, which is composed of various motifs such as the sun, the moon, five peaks, waves and pine trees.
This Five peaks screen was generally placed behind the throne in Chosen dynasty. Nonetheless, it should not be overlooked that Five peaks screen was employed for a variety of use at Court in Chosen dynasty
In brief, the Five peaks screen was not only placed behind the throne but also used for 凶禮 and a course for copying the painting of royal portraits.
In this paper, I want to research about the Five peaks screen by examining the record of 凶禮都監儀軌(which means formality manual from the office in charge of the funeral rites) of Chosen dynasty, which was neglected in the existing studies.
Since Chosen dynasty, the Five peaks screen has been calling in various terms so far. Though those terms were named after one related to icons, 'Five peaks screen' or 'Five peaks mountain screen' was recorded in a large number of Court documents and of 凶禮都監儀軌 in Chosen dynasty. It is considered that among the icons consisting of the Five peaks screen, Five peaks were more focused than the sun and the moon. It can be inferred form the fact that the icons of the sun and the moon were omitted in the canopy-Five peaks screen of 魂殿.
In fact, instead of the sun and the moon, the painting of a sun-moon mirror was placed on the canopy-Five peaks screen. It is considered that the basis of such the sun-moon mirror was originated from 『Bao Pu Zi』 of Taoism. It is not clear, however, that how the original figure of the sun-moon mirror looked like due to the absence of a relic related to the term of the mirror or an explanatory diagram about the mirror.
However, use of this mirror came to stop after King Youngjo period (1724-1776). Instead, it began to paint the sun and the moon using gold and silver dei right on the screen. It is believed that this way came to continue until the middle of the nineteenth century and since then the sun and the moon as the feature of the current Five peaks screen has been painted with red and white colors.
Also, the screen was surely necessary for 凶禮儀式. The screen began to be used in 魂殿 and then 殯殿 and 山陵 as time went by. It shows that use of the screen during Chosen dynasty came to expand.
Among the rest, the first document of historical materials was a Five peaks screen installed in 魂殿's canopy. 魂殿 was the place where king's ancestral tablets were put in for 3 years. Inside this Honjeon, the canopy was arranged to put the ancestral tablets and the screen comes to be placed inside canopy. Like this, 魂殿's canopy Five peaks screen became remained until the end of Chosen dynasty.
On the other hand, the materials used for making the Five peaks screen were recorded in 凶禮都監儀軌 thoroughly. Especially the materials for 魂殿's canopy a Five peaks screen were recorded more thoroughly. It benefits to examine the chronological changes of the materials used for the Five peaks screen then. Therefore, I studied those materials shown 『[仁祖]殯殿都監儀軌』(1649), 『[正宗大王]殯殿魂殿都監儀軌(1800) and 『[仁祖]殯殿都監儀軌』(1895), among 凶禮都監儀軌.
If colored pigments are examined, it is assumed that gold and silver dei was employed for the five-peaks-screen, which was used for 魂殿 during King Injo period, and has splendid feature. This mode was conveyed to 魂殿 during King Jungjo period.
From the middle of the nineteenth century, however, use of silver dei disappeared and only gold die was employed. Through this fact, it can be inferred that the existing Eve peaks screen were mostly created after the nineteenth century.
In addition, the end of the nineteenth century, use of cobalt blue and emerald green, which was not recorded in the previous 儀軌, ap

목차 (Table of Contents)

• Ⅰ. 오봉병의 명칭
• Ⅱ. 흉례용 오봉병의 도상
• Ⅲ. 흉례용 오봉병의 용도와 제작
• [부록]
• 참고문헌
• ABSTRACT

참고문헌 (Reference)

1 안휘준, "한국 회화의 이해" 시공사 2000

2 국립중앙박물관, "청록산수, 낙원을 그린다" 국립중앙박물관 2006

3 장경희, "조선왕조 왕실가례용 공예품 연구" 홍익대학교대학원 1998

4 홍선표, "조선시대 회화사론" 문예출판사 1999

5 박정혜, "조선시대 궁중기록화 연구" 일지사 2000

6 안휘준, "동궐도 읽기" 문화재청 창덕궁 관리소 2005

7 홍선표, "개인소장의 출산호작도" 한국미술연구소 (9) : 1999

8 "退溪先生文集考證"

9 "肅宗實錄"

10 이성미, "朝鮮時代御眞關係都監儀軌硏究" 한국정신문화연구원 1997

11 김홍남, "朝鮮時代 ‘宮牧丹屛’硏究" 한국미술연구소 9 : 1999

12 "春官通考"

13 "日省錄"

14 "抱朴子"

15 "宣祖實錄"

16 "國朝喪禮補編"

17 홍선표, "‘수묵민화’의 의미와 의의, in 효해 이유수선생기증근대수묵민화" 국민대학교 박물관 2000

18 "[顯宗]殯殿都監儀軌"

19 "[貞聖王后]魂殿都監儀軌"

20 "[英祖]殯殿都監儀軌"

21 "[肅宗]魂殿都監儀軌"

22 "[正宗大王]殯殿魂殿都監儀軌"

23 "[明聖王后]殯殿[魂殿]都監儀軌"

24 "[宣祖妃仁穆后]國葬都監儀軌"

25 "[宣懿王后]魂殿都監儀軌"

26 "[孝宗]殯殿都監儀軌"

27 "[仁祖]殯殿都監儀軌"

28 "[仁敬王后]殯殿[魂殿]都監儀軌"

29 "[仁元王后]魂殿都監儀軌"

30 이성미, "The screen of the Five peaks of the Choson Dynasty, in 조선왕실의 미술문화" 대원사 2005

31 Michele Louise Bambling, "Illuminating Japna’s Sacred Geography: The Kong-ji Sun-Moon Landscape Screens" Columbia University 2001

32 Ellen Johnston Laing, "Auspicious Motifs in Nine to Thirteenth century Chinese Tombs" MichiganUniversity 2002

33 Kim, Hong Nam, "AnIconological study of the Sun and Moon Landscape screens of Yi Palace Halls: Monarchy and the Confucian Principle of Gvernment" The Asia Society Galleries 1989