장서각소장 왕실발기로 보는 순종 가례 복식연구

이민주 ( Min Joo Lee ) 한국고문서학회 2016 古文書硏究 Vol.48 No.-

현재 한국학중앙연구원 장서각에는 950여 점의 왕실발기가 소장되어 있다. 그 중에서 1882년에 치러진 왕세자 척(후일 순종)의 가례와 관련된 발기 자료는 75건이 있으며, 혼례와 관련된 발기는 58건이 있다. 왕실발기는 전례서나 의궤, 등록 등에서 찾아볼 수 없는 실제 왕실혼례를 위해 준비한 구체적인 물목을 기록하고 있다는데 그 특징이 있다. 따라서 본 연구에서는 혼례복식과 관련된 22건의 발기 자료를 중심으로 초간택에서 간택 후 별궁으로 갈 때의 복식과 혼례를 위해 준비한 이불, 베개, 비녀, 노리개, 보자기 등의 물목을 통해 순종가례의 복식문화가 갖는 의미를 찾아보고자 하였다. 그 결과는 다음과 같다. 첫째, 현전하는 < 임오 정월 가례시 간택처자 의차 >를 통해 간택처자들의 복식이 하사되었을 가능성을 제기하고자 한다. 조선왕실에서는 간택처자들의 의복으로 명주나 모시이상을 넘지 못하도록 여러 차례 규제하였다. 그러나 잘 지켜지지 않았으므로 순종가례 때에는 간택처자들의 복식을 제공하여 규제에 그친 것이 아니라 실제 옷감을 내려줌으로써 실천하는 왕실의 혼례문화를 보여준 사례라고 생각한다. 둘째, 조선왕실 혼례의 하이라이트인 동뢰연을 치를 때 왕세자는 면복을 벗고 상복을 입지만 왕세자빈은 적의를 벗는다고만 기록되어 있을 뿐 구체적인 복식을 알 수 없었다. 그러나 < 임오 쳔만셰 동궁마마 가례시 빈궁마누라 의□긔 >에 기록된 홍장삼을 통해 동뢰연 복식으로 홍장삼을 생각해 볼 수있는 가능성을 열어 놓았다. 셋째, 현전하는 왕실발기 중 < 壬午千萬世 東宮마마 嘉禮時 衾 □衣 件記 >의 한자본과 < 임오 쳔만셰 동궁마마 가례시 기소 쳔의 □긔 > 한글본은 동일한 발기자료이다. 이를 통해 납작누비는 중누비임을 알 수 있었다. 또 이불은 깃, 동정, 안감, 홑이불로 구성되어 있으며, 한자로는 금(衾)이라하고 한글로는 ‘기소’라고 하는 것을 알 수 있었다. 또 천의는 기소보다는 가벼운 이부자리이며, 덮개가 있는 것임을 알 수 있었다. 이 외에도 면(綿)은 솜을 뜻하기도 하며, 석웅황은 댕기에 다는 보석만이 아니라거울과 상관관계가 있음을 확인하였다. 따라서 왕실발기에 대한 연구는 왕실의 혼례문화를 보다 폭넓게 이해할 수 있는 중요한 자료로서의 가치가 있음을 확인하는 동시에 앞으로 이에 대한 연구가 꾸준히 이루어지길 기대한다. The Academy of Korean studies, Jangseogak owns a collection of more than 950 volumes of ‘Balgi’. Among them, there are 75 volumes related to an auspicious ceremony of King Sunjong on 1882 and 58 volumes of his marriage. ‘Balgi’ includes the exclusive and specific list of items which are prepared for royal marriage other than liturgy, the royal protocols ‘Uigwe’ or ‘Deunglok’. This study has been made through the 22 volumes of ‘Balgi’. On the list, costume worn during the process of selecting princesss and items for wedding-bedding, pillow, ornamental hairpin ‘Binyeo’, clothe ornaments ‘Norigae’, wrapping cloth- were written down. From the records, this study would like to find out the meaning of dressing culture on King Sunjong``s auspicious ceremony. And the results are as follows. First, this study raises the possibility that candidates for princess might receive the clothes from the palace, based on the book < Imoh Jungwol Garyesi Gantaekcheja Uicha > (< 임오 정월 가례시 간택처자 의차 >). In the joseon dynasty, the palace regulated the fabric of candidate ladies`` clothes only allowing silk and ramie cloth. However it seems that the regulation wasn``t observed well so the palace bestowed allowed clothes for the candidate ladies. And It seems that the palace took the head in supporting the regulation. Second, At ‘Donglaeyeon (동뢰연)’ the highlight of the royal wedding, existing records and studies found that prince changed the costume from Myunbok to Sangbok. Yet there were not enough records found what prinsess wore, However Balgi < Imoh Chunmansae Donggungmama Garyesi Bingungmanura Yuidae > (< 임오 쳔만셰 동궁마마 가례시 빈궁마누라의□ □긔 >) recorded the extraordinary item red ‘Jangsam’ so it is assumed that red ‘Jangsam’ might be worn by princess at the wedding. At last, among the royal ‘Balgi’, < 壬午千萬世 東宮마마 嘉禮時 衾 □衣 件記 > wriiten in Chinese version and < Imoh Chunmansae Donggungmama Garyesi Giso Cheonui Balgi > (< 임오 쳔만셰 동궁마마 가례시 기소 쳔의 □긔 >) in Korean version is the same. Through the comparative study, this paper determines that ‘Nabjak nubi’ is ‘Jungnubi’. And the royal bedding is composed of ‘Git’, ‘Dongjung’, ‘Angam’ and single blanket as ‘Hotyibul’. It was recorded as ‘Geum(衾)’ in Chinese letter and called ‘Giseo’ in Korean. ‘Cheonui’ is lighter and more casual bedding than ‘Giseo’ with a cover. On the records ‘Balgi’, the word ‘Myun(綿)’ -cotton- was used as meaning of batt. And it seems that orpiment was used not only for an ornament on hair ribon ‘Daenggi’ but also for mirrors. This study affirmed the value of ‘Balgi’ as important channel studying the royal wedding culture. I hope the study and research on ‘Balgi’ continues steadily.

조선시대 한글 發記의 서예사적 意義 및 궁체의 典型 모색

최영희(Choi Young-Hee) 한국서예학회 2015 서예학연구 Vol.27 No.-

조선시대 국혼 등 왕실행사를 진행하면서 소요된 혹은 소요될 물품과 그 수량 등을 한글로 필사한 發記 719점이 장서각에 소장하고 있는데, 이 가운데 640점을 영 인하여 古文書集成 권十二․十三을 통해 소개되었다. 이들의 정확한 제작․필사시기는 알 수 없으나 가장 많은 분량을 차지하는 壬午 (1882년) 발기류 가운데 ‘임오-988’ 발기와 그보다 앞선 丙寅(1866년) 발기류 가 운데 ‘병인-1732’ 발기의 서체를 비교 분석한 결과 點․畫, 자․모음의 結構에 따른 연결, 접필 등에서 오는 외형적 특징이 같았다. 궁체 흘림체로 필사된 두 발기의 특징은 子母字에서 橫모음의 기필은 모두 逆入 하여 方劃을 구사하였으며, 縱모음은 露鋒으로 起筆하였다. 또한 橫모음 가로획은 長短의 변화가 심하였다. 초성 자음은 상하합자보다는 좌우합자에서 縱母音에 따라 형태변화를 주었으며, 轉折處는 轉이나 折을 자유로이 구사하였다. 音節字는 上下合字에서 子․母音의 結構를 연결하고 있으나 左右合字는 독립하여 결구하고 있다. 또한 한 문자 안에서 가볍게 연결하여 단정한 가운데 첫 기필부분이 크거나 한쪽으로 치우치기도 하지만 마지막 收筆 點畫이 그 문자의 上下 左右의 무 게를 안배하여 굵기나 위치를 조절함으로써 균형감과 안정감을 주고 있다. 단지 ‘병 인-1732’ 발기가 肥瘦의 차이가 적절하고 완만한 곡선 운행 등으로 공간을 확보하 는 운필의 정교함과 종성과의 거리를 멀리하여 悠長함을 나타내어 궁체의 典型으로 제시하였다. 한글 발기의 한글서예사적 의의는 첫째, 궁체로 필사된 발기는 자모자의 용필 및 결구 등이 일정하다. 따라서 궁중에서는 하나의 모범서가 있었음을 알 수 있다. 둘째, 행사에 참여한 궁중 여성 특히 나인들의 일상과 직위 이름 등을 확인할 수 있어 궁중 여인들의 생활상을 탐색할 수 있다. 셋째, ‘조선시대에 궁녀들이 쓰던 한글의 글씨체’라는 궁체의 사전적 의미는 여기 에서 비롯되었다고 할 수 있다. 넷째, 한글 발기에 필사된 궁체는 균형감과 안정감을 주는 운필의 정교함은 물론 이고 특히 흘림체는 悠長한 아름다움으로 경제성 및 가독성과 함께 감상성이 좋은 서체이다. 그러므로 한글 발기는 한글서예의 모범서가 되기에 충분하다. In Jangseogak library, there are 719 pieces of Balgi that is a record written in Hangeul presenting the supplied or needed to be supplied items and their quantity for royal event in Joseon dynasty such as a royal marriage. Of them, 640 pieces are introduced through volume 12 and 13 of A Collection of Ancient Documents ( 古文書集成 ) by copying the original in photograph to print out. Despite the hardship of figuring out the exact time of production, there has been found the exterior similarity in the way of putting dots and lines, the structure of consonant and vowel, and the attachment of dots and lines or consonant and vowel after analyzing the calligraphy of Im-oh 988 Balgi in the Balgi of year Imoh (Year 1882) which accounts for the largest quantity and Byeong-In 1732 Balgi in the Balgi of year Byeongin (Year 1866) which is the former than Im-oh Balgi. As for the features of those two records written in cursive type of Gungche, firstly in phonemic writing, every horizontal letter was written in reverse to fit in the square frame of each character and the vertical was written by erecting the writing brush to lay the trace of the brush. In addition, there are considerable variations of length in the horizontal stokes. The initial phoneme of consonant was varied by final vowel combined widthways rather than lengthways, turning and shifting the direction of brush stroke without any restrictions. Secondly in syllabic writing, the letter combined widthways is to compose the consonant and vowel while that combined lengthways is to do respectively. Also, the balance and the stability are presented by adjusting weight or position of the character with its final dot and line balancing widthways and lengthways even though the first writing is sometimes slanted or bigger than others while being neat within a lightly connected character. It is presented as the quintessence of Gungche for Byeongin 1732 Balgi has an exquisiteness of brush stroke making space by gradual movement of curves and proper difference in thickness and tenuity and also makes long but elegant brush stroke by putting its distance with final consonant. The Balgi written in Hangeul has its significance in the history of Korean calligraphy in that; firstly, the Balgi written in Gungche has steady strokes and structure of phonemic writing. Hence it is found that there was an exemplar book in the court. Secondly, it shows the lives of women in the court by recording the routines and positions of women who participated in the royal event, especially those of the court ladies. Thirdly, the dictionary definition of Gungche is originated from these records that the font of Hangeul was used by the court ladies in Joseon Dynasty. Fourthly, Gungche used in Hangeul Balgi is the calligraphic font having an exquisiteness of brush stroke, which offers balance and stability, and especially its cursive type is efficient and suitable for appreciation and easy reading with the beauty of being long but elegant. Thus, Hangeul Balgi has its sufficient qualification to be a model for Hangeul calligraphy.

궁중발기를 통해 본 왕실의 복식문화 : 임오가례시(壬午嘉禮時) 생산체제를 중심으로

이민주(Lee Min-Joo) 한복문화학회 2011 韓服文化 Vol.14 No.2

This study aims at examining a royal family's costume culture through'the royal court Balgi' which has been written a catalog of goods required by a Royal Family, such as the things and quantities that brought into a Royal Family in the late of Joseon Dynasty. Especially, it was tried to review Sang-euiwon(尙衣院) which was the production agency and Chimseonbi(針線婢) who was a maker focused on manufacturing system out of the study of a its dress, focused on the kinds of'Imohgaryesi(壬午嘉禮時)' Balgi that was recorded the King Sunjong's wedding ceremony in 1882 among approximately 950 Balgis which was housed in Jangseo-gak(藏書閣)library for researching more formally and specifically a royal family's costume culture. For this, this article was tried to study a royal family's costume culture through the kinds of Balgi which has been recorded the role of Sang-euiwon and Chimseonbi, such as with which process a royal wedding could be executed, those who they would be called from Sang-euiwon for a wedding, what they could play a role, with which system Sang-euiwon and Chimseonbi could make a costume required by a royal family and which prize they could be given after the wedding. The result of this study is as follows: First, Sang-euiwon was a treasure house not only keeping money and valuables but also making clothes and belts, and Chimseonbi who belonged to there had made clothes and belts in according to the regulation. Second, Imohgarye is the prince's wedding ceremony which was conducted in 1882. It was chosen the daughter of Min tae-ho by three chosen as a Wangsejabin. The number of people called for the customary formalities of a royal family were 2352, 430 craftsmen of them who belonged to Sang-euiwon, and 17 Chimseonbi. Third, this study has found through Sanggyeok Balgi(賞格發記) that a costume of the customary formalities of a royal family required during Imohgarye can be classified into a robe and clothes & belts of the crown prince and a crown princess, most robe and clothes & belts was made by Sang-euiwon as referring to the state of preparing it in a palace, the shoes which had to be provided a completed product was made by the Ministry of Finance. The fabrics which was used to embroidery or Pasul among a robe of a crown princess was made by directly knitting in Sang-euiwon, an underwear was made in a sawing room or a embroidering room. Fourth, Chimseonbi who produced directly the royal family's costume can divide into Chimseonjang and Chimseonbi. There were two kinds of Chimseonbi, one was who goes to and come from, and another was who stays in palace. They were given a salary, but sometimes, being given a prize as a salary corresponding to a bonus after wedding. Also this paper was found that they could get a good salary as much as a work other than the defined salary by referring to what they could be given a wage depending on making clothes when they make s special costume such as a shroud.