earticle

영어

In the Joseon Dynasty, kings and retainers attached importance to the proprieties and music as a mean of edification politics that aimed to realize social unification. Court banquets were held as a national event for the realization of social unification and amity among the king’s subjects and all people. In the early years, these court banquets were mainly Hoeryeyeon(會禮宴), Yangroyeon(養老宴), Poongjeong(豊呈). In later years beginning from King Seongjong’s reign, Jinyeon(進宴) was held, while Eoyeon(御宴) was held in King Yeongjo’s reign, which was changed to Jinchan(進饌) and Jinjak(進爵) after King Jeongjo’s reign.
Influenced by the Confucian view of portents and ideas of Yeomin-dongrak and the realization of a Neo-Confucian utopia, the number of the banquets varied and a variety of arts for such banquets were developed. While in the early stage of the country, banquets were held mainly in celebration of the king’s birthday, accession and entering into Giroso(耆老所), in the 19th century the nature of banquets became more political, therefore such banquets were mainly for figures of authority and the paintings describing court banquets became more upscaled and formalized.
Paintings of court banquets had perfect bilateral symmetry, taking the instructions for the customary formalities in Gukjo-oryeui(國朝五禮儀, Five National Rites) and Gukjo-sok-oryeui(國朝續五禮儀) as the grounds in terms of structure. Beginning as the form of Gyehoedo(契會圖), the paintings developed into Gyechuk(契軸), Gyecheop(契帖) and Gyebyeong(契屛).
Court banquet paintings that are in existence today are divided into five periods. The first period is between the establishment of Joseon and King Sunjo (1392-1608). Paintings of court banquets made in this period are four: Jungmyo-joseo-yeongwan-sayeondo,Seochong-daechinlim-yeonhoedo,
Seochong-daesiyeondo and Alseong-sieun-yeongyeondo. Such paintings feature simple character sketches and the tradition of Gyehoedo and did not completely realized the instructions for Orye (five state rites). The second period is between Gwanghaegun to King Gyeongjong’s reign (1608-1724), during which three court banquet paintings were made: Jinyeon-docheop,Sungjeongjeon-jinyeondo and Gyeonghyeondang-seokyeondo. In this transitional period, the paintings have detailed character sketches and rich contents and are relatively closer to the instructions. The third period is King Yeongjo’s reign(1724-1776), during which eight paintings including Jongchin-busayeondo, Sungjeongjeon-gapja-jinyeondo, Yeongjo-41nyeon-giroyeondo and Byeongsul-jinyeondo. Reflecting the changed formality system after the Japanese aggression, more paintings were made in byeongpung(屛風, folding screens), and perspective that was commonly used in those days’other paintings was partly adopted. During the fourth period of King Jeongjo’s reign(1776-1800) three paintings were made: wood printing drawings of Bongsudang - jinchando in cluded in onehaeng -eulmyo - jeongri - euigueand Bongsudang-jinchango and Naknamheon-yangroyeondo included in Hawseong-neunghaengdobyeong.
The period was apotheosis of court banquet paintings, featuring showy five-color byeongpung. The fifth period is between King Sunjo’s reign and the sixth year of Gwangmu(1800-1902), into which most court banquet paintings in the later Joseon Dynasty fall. Twenty two paintings including Gichuknyeon-jinchandobyeong made in 1829 are in existence. In this period, the scale of byeongpung was expanded from eight screens to ten. As for composition, front high-angle and parallel diagonal line compositions were used together. Incorporating the emperor system of the Daehan Empire in 1897, the paintings feature new objets expressed in novel coloring but show signs of decadence that lack strong formality and originality. Aside from colored paintings, there remain 12 diagrams of euigue (royal protocols) including the Wonhaeng-eulmyo-jeongrieuigue diagram made in 1795. They included at least 50 pages and up to 133pages, comprising of Munbanchado, Gungkweoldo and schemes of royal events such as Jinchan, Jeongjaedo, Chaehwado and Euijangdo.
These diagrams served as structural grounds of colored paintings of court banquets. Paintings made between 1795 and 1902 feature the mixture of front and parallel diagonal line compositions.
As paintings of court banquets attached great importance to tradition so that they have strong conservatism and reflect ideas of a Neo-Confucian utopia and Yeomindongrak that Joseon intended to realize. They are documentary paintings featuring clear outlines, rich colors based on Obangsaek(五彩色) and the beauty of balance despite the co-existence of the high-angle composition and multiple viewpoints. The political and cultural aspects of the Joseon Dynasty can be identified by investigating the contents included in these valuable materials, such as art, architecture, dance and music.

한국어

조선의 왕과 신하들은 대동사회 구현을 위한 교화정치의 방안으로 禮와 樂을 중시하였다. 궁중연향은 이러한 대동사회 구현, 臣民등 만민화친을 위한 국가행사로 지속되었는데, 국초에는 會禮宴, 養老宴, 豊呈, 성종대부터 시작하여 후기에 주로 행해진 進宴, 영조대 御宴, 정조 이후 進饌, 進爵등으로 변화되었다.
궁중연향은 儒敎的災異觀, 與民同樂, 성리학적 이상사회 구현 등의 영향으로 시행횟수나 宴享圖등 儀禮美術이 다양하게 형성되었다. 국초에는 주로 국왕의 誕日, 卽位, 入耆老所등을 기념한 연향이 주류였으나 정치적 성격으로 변화된 19세기는 세도정치 실권자를 위한 연향이 주류를 이루었고 연향도 자체도 대규모화, 형식화되는 경향이다.
연향도는『國朝五禮儀』및『國朝續五禮儀』嘉禮排班圖를 도상적 근거로 한 엄격한 좌우대칭이며 契會圖형식에서 출발하여 契軸, 契帖, 契屛의 순으로 발전되었다.
현존 宴享圖는 다섯 시기로 구분할 수 있다. 제1기는 조선건국 초부터 선조대까지로(1392~1608) 이 시기의 연향 그림 자료는 中廟朝書筵官賜宴圖, 瑞蔥臺親臨宴會圖, 瑞蔥臺侍宴圖, 謁聖試恩榮宴圖등 네 작품이며 간결한 인물표현, 계회도 전통이 강한 형식 등 오례의 배반도를 완전하게 구현하지 못한 단계이다. 제2기는 광해군대부터 경종대까지로(1608~1724) 進宴圖帖, 崇政殿進宴圖, 景賢堂錫宴圖등 세 점이다. 비교적 배반도에 근거한 행사도 형태를 갖추어가는 과도기이므로 인물표현이 구체적이고 그림 내용도 풍부하게 발전되었다. 제3기는 영조연간으로(1724~1776) 宗親府賜宴圖, 崇政殿甲子進宴圖, 英祖41年 耆老宴圖, 丙戌進宴圖등 여덟 점이며, 임란이후의 변화된 의례체계를 반영한 병풍 형식의 연향도가 증가하고 당대 일반화회의 원근법 등을 부분적으로 적용하고 있다. 제4기는 정조연간으로(1776~1800) 園幸乙卯整理儀軌수록 奉壽堂進饌圖木版圖式및 華城陵幸圖屛중 奉壽堂進饌圖, 洛南軒養老宴圖등 네 점이며, 궁중연향도의 절정기로 화려한 五彩色병풍이 완성되는 시점이다. 제5기는 純祖대부터 光武6년까지로(1800~1902) 조선후기 대부분의 궁중연향도가 이 시기에 속하는 데 1829년 己丑年進饌圖屛을 비롯한 22점이다. 이 시기는 병풍이 8폭에서 10폭으로 대형화되며 형식도 정면부감과 평행사선구도가 병행되었고 1897년 대한제국 이후의 변화된 황제체제에 따라 의물, 채색 등을 새롭게 반영하고 있으나 강한 형식성, 독창성이 결여된 말기적 현상을 보이고 있다. 채색화와 더불어 儀軌圖式은 1795년 園幸乙卯整理儀軌圖式등 12건이며 적게는 50면에서 많게는 133면의 방대한 양으로 文班次圖, 宮闕圖, 進饌등 행사도, 呈才圖, 菜花圖, 儀仗圖등으로 구성되었다. 이들 도식은 채색 연향도 제작의 도상적 근거가 되었고, 1795년 이후 正面構圖와 平行斜線構圖가 혼재하며 1902년 까지 지속되고 있다.
궁중연향도는 尙古性을 중시한 관계로 강한 보수성을 지니며 조선이 지향한 성리학적 이상사회, 여민동락을 위한 이념을 반영하고 있다. 명확한 윤곽선, 오방색에 기초한 濃彩, 俯瞰視, 다시점의 혼재에도 절제된 均衡美를 지닌 기록화로 미술, 건축, 무용, 음악 등 내재된 콘텐츠를 통해 조선시대를 이끌어온 정치, 문화상을 읽어 낼 수 있는 귀한 자료이다.