부여능산리출토백제금동향로 : 주악 조소상 오른쪽1 악사의 악기에 대한 연구

이종구(Yi Zong gu) 국립국악원 2009 국악원논문집 Vol.20 No.-

필자는 2007년에 「백제금동대향로 주악 조소상 악기 명칭에 대한 연구」라는 논문을 통하여 부여능산리출토백제금동향로(夫餘陵山里出土百濟金銅香爐)의 다섯 악사와 그들이 갖고 있는 악기에 대한 선생연구를 한 바 있다. 이 본문에서 중앙악사의 악기를 백제삼현으로, 왼쪽1악사의 악가는 장소, 왼쪽2악사의 악기는 배소, 오른쪽1악사의 악기는 무명백제악기, 오른쪽2악사의 악기는 금(琴)이라 명명하였었다. 이것은 백제금동대향로가 발견된 직후부터 지금까지 해당 박물관 안내 게시물로부터 각종 교과서나 전 세계에 퍼져있는 모든 자료에 나타난 악기 이름과 큰 차이를 갖고있는 것었다. 특히 북 또는 타악기로 알려졌던 오른쪽1악사의 악기에 대한 견해는 그 근본부터 상이한 것이었다. 이 악기에 대하여 집중 연구한 것이 본 논문이다. 이름을 밝힐 수 없었던 오른쪽1악사의 악기에 대하여, 일반적인 악기로서의 조건과 맞는지 검토하였고 이를 다각도에서 촬영한 사진들을 종합하여 아도브-일러스트 프로그램으로서 악기 외형을 다시 한번 정리하였다. 그 결과, 가) 악기의 윗면은 앞쪽은 반원(半圓)형이고 뒤쪽은 직각의 모습이어서 마치 양변기(洋便器)의 윗부분 모양과 유사하고, 나) 악기는 너비가 연주자의 허리 품 정도이고, 길이가 사람의 골반에서 무릎 정도로 길이로 추정하였으며, 다) 악기 몸체의 높이는 연주자의 손바닥 너비 보다 약간 길지만 가부좌를 튼 양다리 사이로 더 깊이 내려갈 수도 있어 보였고, 라) 몸체 위에 달려있는 뚜껑 모양의 형태에 긴 손잡이가 한 가운데 부착되었다는것 들이었다. 이에 대하여 연주하는 모습은 오른손으로 손잡이의 뒤쪽을 잡고 앞 방향으로 새끼손가락이 위치하여 뚜껑을 상하로 움직이는 모습이었으며, 왼손으로 손바닥을 펴서 수도(手刀) 방향을 아래로 악기 몸통의 오른쪽에 대고 있다. 가부좌 자세로 무릎을 벌리고 앉아서 그 위에 악기를 얹어 놓고 있기 때문에 정강이와 발꿈치로 악기를 약간 조이듯 파지(把持)를 돕고 있고, 무릎에 얹어 놓고도 고정될 수 있다면 이 악기의 재료는 중량이 무거운 목재로 볼 수 있었다. 이러한 사항을 바탕으로 상하 운동으로 연주하는 목탁이거나 손잡이를 이용하여 풀무질 하는 관악기의 가능성을 찾았지만, 몸체 옆 부분에 왼손을 대고 있는 점으로 미루어 관악기 즉 기구를 이용하여 송풍하는 생황 종류의 악기라는 점에 더 무게를 두었다. 그야말로 전대미문의 악기이기는 하지만 이 악기가 타악기라면 공명체를 왼손으로 막을 이유가 없기 때문에 이러한 결론을 유도하게 된 것이다. 여기에 이 악기의 표준규격과 용적률을 추적하기 위하여 한국고대인의 평균 신장을 164.3cm로 유추하였다. 따라서 필자가 2007년에 무명백제악기라 하였던 이 악기의 이름을 백제생황이라 명명한 것이 본 논문의 요지이다. This thesis outlines the Right 1st. musicians and their instruments that are placed on the top of a gilt incense burner called Baekjegeumdong- daehyangno excavated in 1993 at the temple site near Naseong, Baekje and Neungsan-ri, Gobun-gun with the help of the Buyeo National Museum. Even if it is a small sculpture, the shape of instruments and musicians clearly describe many details regarding a performing pose and the sound structure of each instrument. A brief summary is as follows : First, the instrument of the first musician known as percussion is wind instrument that can be assumed a kind of concertina. However, I myself couldn t find a proper name of this instrument therefore, I here call the instrument unnamed instrument of Baekje on my thesis. In this thesis, I inspected the external shape of the instrument, right 1 , by using photo-shop and illustrator program. As the result, I tried to find the possibility of both a percussion instrument a sort of wooden gong and a wind instrument of the reed instrument system. These two possibilities all differ from the existing a wooden gong and a reed instrument in the respect that these are used with utensils. However, we concluded that the possibility as a percussion instrument is lessened in the respect that the left hand touches the instrument. Therefore, the instrument which has sculpturally most completed external shape is the reed instrument which plays with bellows. That is why I am going to call the name of right 1 musician from Unnamed instrument of Baekje to Baekje - Shon Pung Gum(Baekje - Concertina) . Second, the second instrument previously known as the kômungo from the right side is closed to the gŭm(琴) which is one of the string instruments from middle China. The kômungo is originally from the Koguryŏ dynasty and the Silk Road. The fact that this instrument was found in there mains of Baekje tells us broad cultural exchanges of people of the country. Third, the instrument in the center of the burner known as the wanham or wolgŭm is closer to various kinds of the three-stringed instruments of Baekje dynasty. Last, there is a fan flute - or tŭngso - like instrument on the left side of Baekjegeumdong- daehyangno. Based on my study, these wind instruments came from the Silk Road and the southern regions. Although this sculpture is greatly tiny sculptured, it can be a reliable data by which the playing posture and the principle of sound of each instrument because the balance of human body and the shape of instrument are described in detail with realistic proportion. Thus, in the situation that the instruments are reproduced, there will be no problem if two factors are preceded. In one process, detailed proportions of each part and the shape of instruments were investigated by estimating instruments and Baekjegeumdong- daehyangno musicians for data processing in the form of 3-Dimension graphs and theses tasks were performed by Dr. Park s team in KAIST. Then another required task is left before producing instruments. That is, the floor space rate and the size of instrument should be set by applying produced 3D graphic to ancient Korean people s average height. It has not been reported yet the average height of Baekje people. However, there were a few studies about the average height of Korean people until pre-Chosun dynasty after Baekje period. Based on adult skull which is excavated in Kimhae, Kyung-nam, the first one was revealed that the average height of male was 167.4 cm. Based on adult skull which are excavated in Gobun-gun of Koreyo dynasty, the second one was 162.2 cm. In the period of Japanese Invasion of Korea(Im Jin Wae Lan), the average height of male was 161~166cm and their average becomes 163.5cm and in a book of English explorer, Bishop, Isabella bird, who visited to Korea in 1890s is written that the average height of Korean man was 164cm.

백제금동대향로 주악 조소상 악기 명칭에 대한 연구

이종구 ( Zong-gu Yi ) 한양대학교 음악연구소 2007 音樂論壇 Vol.21 No.-

This thesis outlines the five musicians and their instruments that are placed on the top of a gilt incense burner called Baekjegeumdongdaehyangno excavated in 1993 at the temple site near Naseong, Baekje and Neungsan-ri, Gobun-gun with the help of the Buyeo National Museum. Even if it is a small sculpture, the shape of instruments and musicians clearly describe many details regarding a performing pose and the sound structure of each instrument. After discovered this incense burner, three musicologists named it Baekjegeumdongdaehyangno and had officially introduced their materials to all museums and organizations over the world. Throughout the long study and research for the theory of instruments, however, I convinced myself that there are a number of unsuitable points on the previous study of the incense burner. In order to lay the foundation of a correct theory, I hereby introduce this thesis on Baekjegeumdongdaehyangno. A brief summary is as follows: First, the instrument of the first musician known as percussion is wind instrument that can be assumed a kind of concertina. However, I myself couldn't find a proper name of this instrument therefore, I here call the instrument unnamed instrument of Baekje on my thesis. Second, the second instrument previously known as the komungo from the right side is closed to the gŭm(琴) which is one of the string instruments from middle China. The komungo is originally from the Koguryŏ dynasty and the Silk Road. The fact that this instrument was found in there mains of Baekje tells us broad cultural exchanges of people of the country. Third, the instrument in the center of the burner known as the wanham or wolgŭm is closer to various kinds of the three-stringed instruments of Baekje dynasty. Last, there is a fan flute - or tŭngso - like instrument on the left side of Baekjegeumdongdaehyangno. Based on my study, these wind instruments came from the Silk Road and the southern regions. In order to support my theory, I provide here the sound structure and function of the instruments that appear on the surface of the incense burner. All musical instances and materials in this thesis are confirmed by renowned musicologists and instrument makers for a long time. There is a crucial importance to studying ancient musical instruments for the various researches and performances of our time. I proudly present this thesis for the foundation of a future reference and will continue to explore ongoing study.

한국적 포스트모더니즘 오페라의 모색 - 이론적 접근Ⅰ

李鍾九 漢陽大學校 音樂硏究所 1997 音樂論壇 Vol.11 No.-

한국적 포스트모더니즘오페라의 모색 : 이론적 연구 Ⅱ

李鍾九 漢陽大學校 音樂硏究所 1998 音樂論壇 Vol.12 No.-