조선 초기 王室婚禮의 정비와 그 의미

백주연 조선시대사학회 2020 朝鮮時代史學報 Vol.- No.95

Since the early founding of the Joseon dynasty, Joseon has made efforts to reorganize the Five Rites based on the Neo-Confucianism order. Five Rites are a Confucian ritual composed and implemented with the king at the peak. Among them, the royal wedding ceremony was directly related to the royal authority, including the king. Furthermore, the wedding of the king and the crown prince was considered important at the national level as the beginning of the work to produce descendants to inherit the royal family and preserve the Jongmyo and Sajik. In the Taejo period, the reorganization of the four ceremonial occasions of coming of age was emphasized. Through the Taejong period, the overall readjustment of the Five Rites was actively conducted in the Sejong period. Among them, the 「Auspicious ceremony」 was used as a means to secure the legitimacy of the king’s rule and to strengthen the royal authority. In particular, the royal wedding ceremony was established in a way that allowed the king to realize virtue, strengthen the legitimacy of the royal authority, and enhance the authority of the royal family. Discussions on the establishment of such royal wedding ceremony have been active since the Sejong period. The discussions in 1426~1427(the 8th and 9th years of King Sejong’s reign) were made for practical purposes ahead of the wedding of the crown prince. And starting from 1434(the 16th year of King Sejong’s reign), formal procedures for royal wedding ceremony was prepared to change the customs of Seoryubugahon into Confucian weddings. In the early Joseon dynasty, the royal wedding ceremony was completed to a certain extent in the Sejong period. Later, it was arranged in the 『National Five Rites』 by Sungjong period, which became legally effective. In the early Joseon dynasty, the royal wedding was usually composed of yukrye(六禮), as the examples of Tang(唐), Song(宋), and Ming(明) were referred to enhance the royal authority of the royal family. On the other hand, 『Garye』 was accepted in many areas according to the situation of Joseon dynasty. This is a characteristic of Joseon’s deepening understanding of Neo-Confucianism through the Taejong and Sejong period. The enactment of the royal wedding ceremony in the early Joseon dynasty, which was completed through this process, has five meanings. Through the reorganization of the royal wedding ceremony based on the order of Li(禮), the king was able to establish himself as an ideal monarch in Confucian politics, strengthen his position by raising his wife’s status, and stably succeed the king to the crown prince and his descendants. In addition, the king was able to strengthen the authority of the king’s immediate relatives, and establish a hierarchy within the royal family because the royal wedding ceremony was based on an order of clan rules centered on the king. The reorganization of the royal wedding ceremony in the early Joseon dynasty, which was seen through this way, was not only accompanied by the primary purpose of establishing the authority of the king and the royal family, but also had the secondary purpose of creating the image of Joseon as a Confucian nation based on the deepening understanding of Neo-Confucianism. 조선에서는 유교를 國是로 하여 건국 초부터 성리학적 질서에 기반한 五禮의 제정을 위해 노력하였다. 오례는 국왕을 정점으로 하여 구성 및 시행된 유교 의례이다. 그중 왕실혼례는 국왕을 비롯한 왕실의 권위와 직결되었다. 더 나아가 국왕과 왕세자의 혼례는 후손을 생산하여 宗統을 계승하고 종묘사직을 보전하는 일의 시작으로서 국가 차원에서 중요시되었다. 태조대에 관혼상제의 정비가 강조되었고, 태종대를 거쳐 세종대에 오례 전반에 관한 정비가 본격적으로 이루어졌다. 그중 가례는 만민을 친하게 하는 성격의 의례들로 국왕 통치의 정당성을 확보하고 왕실 권위를 강화하는 수단으로 이용되었다. 특히 왕실혼례는 국왕이 덕치를 실현하고 왕권의 정통성을 강화하며 왕실의 권위를 높일 수 있는 방향으로 설정되었다. 이러한 왕실혼례의 제정 논의는 세종대부터 활발해졌다. 1426~1427년(세종 8~9)에 있었던 논의들은 왕세자의 혼례를 앞두고 이에 실용하기 위한 목적에서 이루어졌다. 그리고 1434년(세종 16)을 기점으로 하여 민간의 서류부가혼 풍속을 유교식 혼례로 변화시키고자 왕실혼례에 정식절차가 마련되었다. 조선 초기 왕실혼례는 세종대에 어느 정도 완성도를 갖추게 되었으며 성종대에 『國朝五禮儀』에 정리되어 법적 효력을 갖게 되었다. 조선 초기 왕실혼례는 왕실의 권위를 높이기 위해 唐, 宋, 明의 예제가 참고되었고, 이에 따라 통상 六禮로 구성되었다. 한편으로 조선의 시의에 맞게 많은 부분에서 『家禮』가 수용되었다. 이는 태종대와 세종대를 거치면서 조선에서 성리학에 대한 이해가 진전된 결과로 나타난 특징이다. 이 같은 과정을 거쳐 완성된 조선 초기 왕실혼례의 제정은 다섯 가지 의미를 가진다. 국왕은 禮의 질서에 입각한 혼례 정비를 통해 ①유교 정치에서 지향하는 이상적인 군주인 君子임을 자임할 수 있었고, ②부인인 왕비의 지위를 높이면서 자신의 지위 또한 강화할 수 있었으며, ③세자와 그 후대에게 안정적으로 왕권을 세습할 수 있었다. 또 왕실혼례는 국왕을 중심으로 하는 종법질서를 기반으로 하였기 때문에 ④국왕 직계 친족의 권위를 강화시킬 수 있었고, ⑤왕실 내부의 위계질서를 확립시킬 수 있었다. 이를 통해서 본 조선 초기 왕실혼례의 제정은 왕과 왕실의 권위를 확립하는 1차적인 목적을 수반할 뿐만 아니라 성리학에 대한 이해의 진전을 바탕으로 유교 국가로서의 조선의 모습을 만들어간다는 2차적인 목적을 갖고 있다.

19세기 조선왕실 혼례용 백자의 구성과 특징

최경화 ( Choi Kyunghwa ) 이화여자대학교 한국문화연구원 2020 한국문화연구 Vol.39 No.-

왕실 혼례는 대표적인 왕실 축제로 국가의 가장 큰 행사 중 하나이다. 그러나 중대한 왕실 혼례에 사용된 백자에 대해서는 현재까지도 체계적 연구 없이 현전하는 몇몇 유물에만 관심이 집중되어 왔다. 이들 백자는 점각명으로 인해 언제, 누구의 혼례에 사용되었는지와 외면에 문양 그리고 기술적 특징(질·굽깎음·굽받침) 정도만을 파악할 수 있다. 그러나 이것은 왕실 혼례용 백자에 대한 매우 단편적인 인식일 뿐 왕실 혼례용 백자를 예치(禮治)를 기반으로 한 조선왕실의 의례 가운데서 인식하고, 백자 기면에 나타난 문양·기술 이외의 다양한 사실들을 이해할 필요가 있다. 이를 위해 19세기 가례도감의궤를 분석한 결과 혼례용 백자의 사용 배경인 왕실 혼례의 절차가 유교 예에 입각하여 위계에 따라 차등을 보임을 알 수 있었다. 또한 사기발기를 통해서는 혼례 소용 백자의 수량(규모)·종류·구성·명칭·문양·진상체제·수량단위·크기분류 뿐 아니라 외래자기 사용 및 선호양상 등 다양하고 구체적인 내용을 알 수 있어 왕실 혼례용 백자를 총체적으로 이해할 수 있게 되었다. 왕실 혼례용 백자는 조선왕실 의례용 백자의 한 축을 이해할 수 있다는 점에서도 그 의의를 찾아볼 수 있다. The royal wedding is the representative of the Royal Festival, and was one of the biggest national events of Joseon era Korea. However, no systematic inquiry was made regarding the white porcelain used in the momentous royal wedding; researchers’attention was solely focused on a few of the more well-known white porcelains. One could understand the era, of whose wedding the porcelain was used, by looking at the Jeomgakmyeong (點刻銘, letters engraved in the white porcelain with dots). One could also grasp the design and the technical features by looking at the porcelain’s external appearance. However, this is just a fragmentary perception of the white porcelain used in the royal wedding. It is necessary to recognize the porcelains used in the royal weddings based on the Joseon dynasty’s ritual, Rye (禮: Confucianism, based on courtesy), as well as by assimilating other various factors, excluding design and technique. Analyzing the 19th century’s Garyedogamuigwe (가례도감의궤, the book containing the record of the royal weddings), the white porcelain used in the royal wedding is based on Confucianism’s Rye, and distinguishes the status of each wedding by differentiating the procedures of each. Also, according to the Sagibalgi (사기발기, the book containing the list of the porcelains used in the Royal Festival), we can see the quantity, form, official name designation, design, and the sizing system of the porcelains, as well as how the king and royals were treated and viewed. Moreover, various and specific details such as the use of the imported porcelain and the preferred forms can be found in Sagibalgi, which became the method to analyze the white porcelain, we are able to see that Confucianism’s Rye, which is the basis of the royal ritual, is expressed through various aspects in ceramics. At the same time, it is meanigful to perceive on side of the white porcelains used in royal rituals in Joseon, and be able to find its significance.

조선후기 왕자녀의 ‘혼례용품’과 그 상징성에 관한 일고찰: 1749년 『국혼정례(國婚定例)』 이전 ‘가례등록(嘉禮謄錄)’을 중심으로

김지영 영남대학교 민족문화연구소 2017 민족문화논총 Vol.65 No.-

이 글에서는 왕실혼례가 1749년 『국혼정례』로 정례화 되기 이전 현전하는 왕자녀의 가례등록을 중심으로 왕실 혼례용품에 표현된 상징성을 고찰하고자 하였다. 이를 위해 왕자녀의 혼례를 치루는 과정에서 각각의 의례절차마다 등장하는 상징성을 강하게 띠는 ‘의례용품’ 들이 어떠한 방식으로 만들어지고, 왕실 특유의 격식을 갖추어 특별한 방식으로 전달되는 과정을 세밀하게 묘사하고자 하였다. 그 과정에서 실제 치러졌던 왕자녀의 혼인을 우선 『국조오례의』 「왕자혼례」, 「왕녀하가의」의 내용과 비교하고, 왕실혼례의 ‘이상적 규정’이 실제 개별적인 ‘의례적 실천’ 과정에서 어떠한 방식으로 만들어지는지 살펴보고자 하였다. 또한 조선시대 왕실혼례 연구에서 그동안 주목하지 않았던 왕자녀의 혼례용품을 중심으로 혼례를 통해 기대하는 부부화합, 다산, 백년해로와 같은 인간 행복의 조건과 문화적 가치들이 조선후기 왕실사람들의 의례현장 속에서 상징성을 띠게 되는 방식을 구체적으로 살펴보고자 하였다. 왕실혼례에서 ‘사물’에 의미가 구상화되는 과정과 구현방식을 주목함으로써 왕실혼례에 나타난 사물과 의미의 관계성에 관한 논의를 시도해 보고자 하였다. This is about the symbolic meanings of ‘wedding supplies’ for royal offspring in late Joseon Korea. There are some documents related to my study, which are called Garyedeungrok. Government finally articulated the list of wedding supplies in detail on the book, Gukhonjeongrye. The wedding ceremony for royal offspring proceeded through several stages. And each stage required some supplies for its own purpose. What I wanted to know is how the supplies were created and given from royal family to partner’s family who were of nobility. I took two actual royal wedding ceremonies for an example and compared to each other. Each example is shown in the book Gukjo-orye-ui. By comparing two examples, I investigated the way that the ‘ideal rules’ were gradually established through ‘practicing wedding ceremonies’. I focused on the royal wedding supplies that many other studies haven’t paid much attention to. What I wanted to peek by focusing them is the way that some conditions for human being’s happiness like ‘unity of married couple’, ‘fertility’ and ‘being man and wife till parted by death’ had symbolic meanings through actual ceremonies. By paying attention to the process in reification which means that ‘things’ soaked up ‘meanings’, I tried to understand the features of the royal wedding ceremonies before 18thcentury and interpret what were the meanings.

1882년 왕세자 척의 혼례 관련 왕실음식발기 연구

주영하 ( Young Ha Joo ) 한국고문서학회 2016 古文書硏究 Vol.48 No.-

본고는 1882년 왕세자 척의 초간택·재간택·관례의 상차림을 적은 왕실음식발기에 대한 연구이다. 필자는 관련 네 점의 왕실음식발기의 서지사항과 음식상을 받은 사람, 그리고 참석자가 받은 음식상의 구성 등에 대해서 분석했다. 연구의 결과는 다음과 같다. 첫째, 초간택 때 이미 왕세자 척의 왕세자비가 결정되었을 가능성이다. 재간택의 상차림을 적은 왕실음식발기에 ‘아기씨주물상+처자상육상’과 ‘아기씨진지상+진지육상’이 나오기 때문이다. 둘째, 초간택과 재간택 때 참여한 처자들의 상차림은 진지상으로 구성되었다는 사실이다. 그러나 왕을 비롯한 다른 참석자의 상차림은 약식의 잔칫상이었다. 셋째, 조선왕실의 행사에서는 주인공에게 가장 성대한 음식을 차려준다는 사실이다. 본 연구를 통해서 왕실음식발기에 대한 연구방법 몇 가지를 확인했다. 첫째는 동일한 행사와 관련된왕실음식발기를 한 묶음으로 하는 연구가 필요하다는 것이다. 둘째는 ‘의궤’나 ‘등록’에 기록된 동일한행사의 왕실음식발기만을 추려서 연구하는 방법이다. 이 연구는 ‘의궤’나 ‘등록’에 기록되지 않은 참석자·상차림·음식 등을 왕실음식발기를 통해서 재구성할 수 있다는 장점을 지닌다. 셋째는 행사의 성격과 관계없이 연도별 혹은 왕대별로 왕실음식발기를 정리하고 내용을 분석하는 작업이다. 이를 통해서 왕실 행사에서 차려진 시기별 음식 종류와 변화 정도를 파악할 수 있다. 조선왕조 왕실음식과 관련된 문헌들 대부분은 실제로 행해진 상차림과 요리법의 보고라고 할 수 있다. 특히 왕실음식발기는 참석자에 따른 상차림과 음식 종류를 명확하게 기록해 둔 문서이다. 향후 장서각 소장의 문서는 물론이고 경상대학교 문천각 소장의 문서, 개인소장의 문서들까지 포함하여 왕실음식발기에 대한 종합적인 연구가 이루어진다면 적어도 고종연간과 대한제국 시기, 그리고 일제 강점기의 왕실과 황실의 음식문화를 보다 구체적으로 살필 수 있을 것이다. This paper is a research about the table settings of two steps of “Gantaek” (揀擇, the selection process for the crown princess) and “Gwanrye” (冠禮, Coming-of-Age Ceremony) of the Crown Prince Chuck (石) in 1882 in the Joseon royal palace “Eumshik Bal’gi” (飮食發記/飮 食件記, palace cuisine list). The followings are the result of the research. First, there is a high possibility that the Crown Princess of the Crown Prince Chuck (石) was already chosen during the period of “Cho Gantaek”(初揀擇, the first selection process the crown princess). It is because the words appeared on the list of table settings of “Jae Gantaek”(the second selection process for the crown princess) in “Eumshik Bal’gi”; “Agissi jumulsang”(阿只氏晝物床), table for the crown princess), “Cheojasang yuksang”(處子床六床, tables of six ladies), “Agissi jinjitsang” (阿只氏進支床, dinner table for the crown princess), “Jinjitsang yuksang”(進支床六床, dinner table for six ladies). Second, the tables served for the candidates of three steps of “Gantaek” were “Jinjitsang”(a dinner table), while the tables for other attendees including the King, were simple “Janchitsang”(a banquet table). Third, it is confirmed that it had provided the most rich cuisine to the hero or heroine in the events of Joseon royal palace. I found out three research methods for “Eumshik Bal’gi” through this present research. First, it is necessary to study same events together in a group in different versions of “Eumshik Bal’gi”. Second method is selecting same events in “Eui’gwe”(儀軌, ritual protocol manuals specifically created for banquets) or “Deung’rok”(謄錄, Journal of recordings) and researching about them. This method of study has an advantage that reconstruct participants, table settings, and cuisine lists which were not mentioned on “Eui’gwe” or “Deung’rok”. The last method is arranging and analyzing the contents of “Eumshik Bal’gi” by year or by eras of kings, regardless of the types of events. Through the research, we can reveal the food types were set during the royal palace events and their alteration tendencies by period. A majority of literatures about Joseon royal palace cuisine, are the repositories of table settings and recipes were actually practiced in the past. Especially, “Eumshik Bal’gi” is the articulated list of table settings and cuisine by participants. It would be possible to concretely unveil royal and imperial palace cuisine, during the King Gojong era, Korean empire government period and period of the Japanese government general of Korea, if we comprehensively study literatures at The Jangseogak Archives(藏書閣, Old Document Library at the Academy of Korean Studies), Muncheon-gak(文泉閣, Old Document Library at Gyeongsang National University), and some private collections.

조선 왕실 가례의 동뢰연 음식상 구성과 음식 배치

김해인 한국학중앙연구원 한국학중앙연구원 2024 한국학 Vol.47 No.2

이 논문에서는 조선 왕실의 혼례 절차 중 현재의 결혼식에 해당하는 동뢰(同牢) 의식에 차려지는 음식상의 구성과 의미, 그리고 배치에 대해 분석했다. 동뢰연을 행할 때 차려지는 음식상을 공간을 장식하는 ‘장식상’과 의례를 행할 때 사용하는 ‘행례상’으로 구분하고, 각 음식상의 배치법과 음식의 특징을 밝히고자 했다. 장식상에는 ‘동뢰연상(同牢宴床)’과 ‘대선ㆍ소선상(大膳床·小膳床)’이 해당한다. 이때 동뢰연상에 음식을 배치하는 방위와 차려지는 유밀과의 특징에 대하여 제례 문헌을 참고하여 밝혀냈다. 그리고 대선ㆍ소선상에 담긴 희생 의식의 의미에 대해 검토했다. 행례상에는 중원반(中圓盤)과 과반(果盤), 찬안상에 차려지는 초미(初味)ㆍ이미(二味)ㆍ삼미(三味)와 사방반(四方盤)이 해당하는데 각각의 상에 차려지는 음식의 특징을 살펴보았다. 특히 고종과 명성왕후의 가례에 대한 사옹원의 기록인 『왕비가례등록』의 <동뢰연찬품도>를 바탕으로 음식이 차려지는 방식을 구체적으로 드러내었다. 이를 통해 동뢰 의식과 음식이 가지는 의미에 대해 보다 심층적으로 이해하고자 했다. This study analyzed the arrangement of the food tables and the characteristics of the food served in the “Dongroe (同牢)” ceremony, which corresponds to the modern wedding ceremony, among the wedding procedures of the Joseon royal family. The food tables were divided into “decorative tables” that decorate the space and “performance tables” that were used when performing ceremonies. Decorative tables include “Dongroeyeon table (同牢宴床)” and “Daeseon·Soseon table (大膳床·小膳床).” This study discussed the direction of arranging food on the Dongroeyeon table, the characteristics of Yumilgwa cake (油蜜果) served, and the Daeseon·Soseon table and sacrificial rituals. Performance tables include the Jungwonban (中圓盤), Gwaban (果盤), Chomi (初味), Yimi (二味), Sammi (三味), and Sabangban (四方盤). The characteristics of the food served on each table were also discussed. In particular, based on a drawing of a table setting in the wedding ceremony records of King Gojong, the way food was prepared was revealed in detail.

조선시대 왕실혼례의 추이와 특성 - 숙종ㆍ인현왕후 嘉禮를 중심으로 -

심승구 조선시대사학회 2007 朝鮮時代史學報 Vol.41 No.-

조선 초기 王室婚禮의 정비와 그 의미

백주연 ( Baek Ju-yeon ) 조선시대사학회 2020 朝鮮時代史學報 Vol.95 No.0

Since the early founding of the Joseon dynasty, Joseon has made efforts to reorganize the Five Rites based on the Neo-Confucianism order. Five Rites are a Confucian ritual composed and implemented with the king at the peak. Among them, the royal wedding ceremony was directly related to the royal authority, including the king. Furthermore, the wedding of the king and the crown prince was considered important at the national level as the beginning of the work to produce descendants to inherit the royal family and preserve the Jongmyo and Sajik. In the Taejo period, the reorganization of the four ceremonial occasions of coming of age was emphasized. Through the Taejong period, the overall readjustment of the Five Rites was actively conducted in the Sejong period. Among them, the 「Auspicious ceremony」 was used as a means to secure the legitimacy of the king’s rule and to strengthen the royal authority. In particular, the royal wedding ceremony was established in a way that allowed the king to realize virtue, strengthen the legitimacy of the royal authority, and enhance the authority of the royal family. Discussions on the establishment of such royal wedding ceremony have been active since the Sejong period. The discussions in 1426~1427(the 8th and 9th years of King Sejong’s reign) were made for practical purposes ahead of the wedding of the crown prince. And starting from 1434(the 16th year of King Sejong’s reign), formal procedures for royal wedding ceremony was prepared to change the customs of Seoryubugahon into Confucian weddings. In the early Joseon dynasty, the royal wedding ceremony was completed to a certain extent in the Sejong period. Later, it was arranged in the 『National Five Rites』 by Sungjong period, which became legally effective. In the early Joseon dynasty, the royal wedding was usually composed of yukrye(六禮), as the examples of Tang(唐), Song(宋), and Ming(明) were referred to enhance the royal authority of the royal family. On the other hand, 『Garye』 was accepted in many areas according to the situation of Joseon dynasty. This is a characteristic of Joseon’s deepening understanding of Neo-Confucianism through the Taejong and Sejong period. The enactment of the royal wedding ceremony in the early Joseon dynasty, which was completed through this process, has five meanings. Through the reorganization of the royal wedding ceremony based on the order of Li(禮), the king was able to establish himself as an ideal monarch in Confucian politics, strengthen his position by raising his wife’s status, and stably succeed the king to the crown prince and his descendants. In addition, the king was able to strengthen the authority of the king’s immediate relatives, and establish a hierarchy within the royal family because the royal wedding ceremony was based on an order of clan rules centered on the king. The reorganization of the royal wedding ceremony in the early Joseon dynasty, which was seen through this way, was not only accompanied by theprimary purpose of establishing the authority of the king and the royal family, but also had the secondary purpose of creating the image of Joseon as a Confucian nation based on the deepening understanding of Neo-Confucianism.

조선시대 嘉禮 연구의 현황과 과제

박미선(Park misun) 한국사학회 2021 史學硏究 Vol.- No.144

본 논문은 기존의 嘉禮 관련 연구 성과들을 검토하고 앞으로의 과제를 고찰해 보기 위해 작성되었다. 먼저 조선전기 『세종실록』 「오례」 가례에서부터 조선후기 『국조오례통편』 가례까지의 儀註와 序例 항목을 중심으로 한 역사학 분야의 연구 성과들을 검토하였다. 가례 연구의 경향은 ① 가례 정비 방향에 대한 연구, ② 가례 항목 분류에 대한 연구, ③ 가례 개별 주제에 대한 연구로 유형화하여 정리하였다. 그리고 앞으로의 과제를 4가지 방향에서 제안하였다. This study is purposed to review the existing researches related to Garye and to consider future tasks. First, the study reviewed research achievements in the field of history, focusing on the items of Uiju and Seorye from Garye of 『Sejong Annals』 「Orye」in the early Choseon Dynasty to Garye of Gukjo-Orye-Tongpyeonin the late Choseon Dynasty. The trends in the study on Garye are categorized and organized into ① a study on the direction of Garye maintenance, ② a study on the classification of Garye items, and ③ a study on individual subjects of Garye. According to the research result, four tasks are presented; ① Following researches should be conducted on a kind of ‘Related Source Theory (典據論)’ on Uiju (Protocol) or ‘Epistemology (認識論)’ on the composition of Orye (The Five Rituals). ② In order to categorize the rites and ceremonies of Garye, the premise of the classification of national rituals should be examined in depth in relation to the planning of the Confucian country. ③ It will be necessary to consider the step-by-step setting of the scope of the study on Garye and the categories of ritualized ceremonies that are not included in the liturgical books. ④ It is required to draw a discourse on the Yechi/Yegyo society of Choseon in connection with the main discourses of the Choseon Dynasty as well as the continuous excavation of subtle topics.

잊혀진 왕실 병풍, ‘花草屛’과 ‘引雛翎毛屛’

고연희(高蓮姬) 한국미술연구소 2016 美術史論壇 Vol.- No.43

Folding screen painting of flowers without birds had been unfolded at least since royal ceremony in the early Joseon. According to the royal records of Joseon, it was produced in imported color-pigments and in a ten-panel folding screen which was the biggest painting at that time. Scholars’ poems tell us that the flowers on the folding screen painting are beautiful and rare ones which were usually raised in the chinese court garden. Since the early nineteenth century, folding screen of flowers combined with birds has been used instead of flower painting only. Many folding screen paintings of bird with baby birds from the Joseon palace of Changdeok are extant, showing yellow baby birds usually located in the center of the each colorful paintings. Two scholars who composed essays about their wedding ceremony and paintings for decorations including the folding screen paintings of flowers and birds. One wrote that the paintings for his wedding were made after court paintings by court painters, and the other described the baby birds on the each painting of folding screen and expressed his delightful mood thanks to the baby birds. The term ‘caring with baby bird’ is used for title of paining in the Song dynasty. It means that the classic theme of baby birds had been kept in the court of Joseon and out of the court in the Joseon period. The huge folding screen paintings of ‘Flowers’ only and of ‘Caring with baby birds’ have been made and used at the palace throughout the Joseon period, but even scholars today are not interested in these folding screens. Calling them lost ones would be for demanding interest in these paintings.

『관혼례강의』에 나타난 조선 후기 왕자 관례식 고증 연구

이주미 한복문화학회 2022 韓服文化 Vol.25 No.2

『Gwanhonryegangui(冠婚禮講義)』, which is stored in Gyujanggak(奎章閣) and Jangseogak(藏書閣) is a syllabus that has been used for the lecture against the officials who performed official Jesa(祭祀, Korean traditional ancestral rites) events at Seoul in 1938. 『Gwanhonryegangui』 recorded the procedures and attire required for the coming-of-age ceremonies[冠禮] and wedding ceremonies[嘉禮] of the Royal Court of Joseon Dynasty. In the case of the events related to the Prince, the layout of the convention hall, which cannot be found in previous records, is written in 『Gwanhonryegangui』. The royal rituals regarding the Prince of the Joseon Dynasty were not researched actively compared to the rituals related to the Crown Prince due to the lack of data. The coming-of-age ceremony was the first ceremony for a prince while living in the palace. The coming-of-age ceremony in Confucian style had three stages, Choga(初加), Jaega(再加), and Samga(三加), respectively. For each of these stages, which represented adulthood, the Prince wore a different costume comprised of Gwan(冠) and an attire that befits the Gwan. This research aims to identify and organize the costume of the participants who participated in the Prince's coming-of-age ceremony and reproduce the actual scene of the ceremony by using the records and drawings left in the 「 Prince's coming-of-age ceremony Hall」 chapter of 『Gwanhonryegangui』. The research has referred to the drawing 「Sugyodo(受敎圖)」 which is stored at the National Palace Museum of Korea during the process, and the costumes have been analyzed and reproduced by referring to other written records. Based on these data and research, we used Adobe Illustrator and Adobe Photoshop to visualize the procedures of the coming-of-age ceremonies to improve our understanding of the events performed during the Joseon Era. Moreover, by providing an actual drawing of the ceremony, the results of this research can be presented to modern people, who are mostly unfamiliar with traditional rituals, to raise their interest in our history and valuable cultural heritage. .