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영어

This study investigates the meaning and value as research data of juakdosang (drawings of music performance), found in the surviving Jungmyojoseoyeongwansayeondo (Picture of a private banquet held at Seoyeongwan during king Jungjong's reign). Jungmyojoseoyeong- wansayeondo portrays the banquet held at the Guenjeong Palace of Gyeongbokgung, hosted by King Jungjong for the prince's scribes, consisting of 4 pictures, all differently located, of which two historical sources mention. Past research has discovered the background and purpose of these portraits, but little is found in terms of their exact date of the party, orchestration and the music, as well as social meaning. Therefore, this study looks comparatively at the four pictures and two sources, referring to the records regarding court banquets and music written in Joseonwangjo Silok (Annals of Joseon Dynasty), focusing on the historical value and meaning of the Jungmyojoseoyeongwansayeondo from a music-iconological point of view. The 38th year of Jungjong's reign has been filled with political turmoil, natural disasters, and national financial crisis, which placed a barrier to holding court banquets on a continual basis, leaving spaces for only those events that emphasized the moral virtue of maintaining harmony between parents and offspring, king and his subjects. His 29th year especially was relatively blessed with a rich harvest, causing him to hold “Dasarye” in August, private gatherings for court scholars, and various banquets such as gyeongyeongwan, giyeonghui, and seoyeongwan during the months of September and October. Among these events, the court banquet of seoyeongwan in October has been recorded as Jungmyojoseoyeongwansayeondo. Such a private celebration was mentioned only during the periods of Sejo, Seongjong, and Jungjong, which came to a stop after King Injong. Therefore, the depiction in Jungmyojoseoyeongwansayeondo is a valuable data, if we think of how rarely such banquets were recorded at all in the annals of Joseon dynasty. Among the pictures of Jungmyojoseoyeongwansayeondo, those stored at Hongik University, Korea University, and Gyujanggak were identical in orchestration, with little variation in placing and costume of musicians. However, the picture at Cultural Heritage Administration has a full-fledged samhyeonyukgak orchestration, with the women musicians dressed in hwangchosam (yellow dress), red belt, blue skirt, and three-colored hansam (sleeves). Therefore, although the subject deals with a Jungjong's banquet, this fourth picture clearly reflects the musical influence of after the 18th century, leaving much doubt in terms of its value as historical source of the period. On the other hand, although the writings found on the pictures are valuable hints in deciphering iconological data, the dates of event do not match. For example, a picture from the 29th year is recorded as the 30th and one writing accounts the general atmosphere of a banquet which seems unrelated to the particular event that took place at the time of King Jungjong. According to Jungjong Sillok (Annals of King Jungjong>, this event has been designated as ildeungak (first-rate music). However, its contents, under close examination, do not match the ildeungak event mentioned in Akhakgwebeom and inconsistent with the , which shows how a ildeungak looked like. Thus, this picture shows that king Jungjong clearly had women entertainers to dance and play music at a court banquet of seoyeongwan, which took place at the courtyard of Geunjeong place on October 6th of his 29th year of reign. However, the instrumentation and orchestration depicted in the picture, the ways in which the music and dance were arranged, and the type of dance and dancers employed were not realistically portrayed. Moreover, it has been ascertained that this picture, as it was copied in later periods, reflects the musical features of the time. Therefore, among the four pictures of Jungmyojoseoyeongwansayeondo, the remaining three, as records of the rare Seoyeongwan banquet, are judged as a very rare case of representing musicians and women dancers in the courtyard of Geunjeong palace during the 16th century. However, we can not faithfully take their representation of number of musicians and their costumes as being totally true and must refer to them with care. This study is a preliminary step in constructing basic concepts regarding the music and dance found in the court banquets of the Joseon court; the purpose, object, and type of such occasion.

한국어

본고에서는 <중묘조서연관사연도>의 주악도상이 지니는 음악사료적 가치와 의미에 대하여 중종 전후기의 사연의 시행 현황과 ‘서연관 사연’의 이례적인 성격, 주악도상에 표현된 중종대 음악문화의 반영 여부를 중심으로 살폈다. 중종 재위 39년은 정치적 격변과 자연 재해 등, 국정의 어려움이 많은 시기로 궁중의 연향이 잠정적으로 중단된 때도 있었지만 효와 충, 군신동화를 목적으로 한 궁중연향의 지속성은 유지되었다. 특히 1534(중종 29)년에는 오랜만에 맞는 풍년으로 나라가 안정되어 8월에 ‘대사례’를 거행하고, 이어 수차례 유생들을 궐정에 초청하여 사연하였고, 9월, 10월에 연이어 경연관, 기영회, 서연관 사연을 하였는데, 이 중 10월의 서연관사연이 곧 <중묘조서연관사연도>로 전하게 되었다. 서연관을 위한 사연의 예는 세조, 성종, 중종 때의 기록에서만 보이고, 인종 이후로는 시행되지 않았는지 실록에 기록되지 않는 연향인데, 이 내용이 <중묘조서연관도>로 기록된 것은 희소성 면에서 각별하다 하겠다. 한편, 그림과 관련된 기문(記文)은 도상 해제와 연구에 매우 중요한 기초자료이기는 하나, <중묘조서연관사연도>의 경우 행사의 시기를 종종 달리한 예도 있어 1534(중종29)년의 일이 1535(중종 30)년의 일로 통용되는 빌미를 제공하였는데, 본고에서는 이 사연의 시행 시점을 1534년으로 바로잡았다. 한편, 『중종실록』에서는 이 연회에 ‘일등악’을 내렸다고 기술되어 있지만, ‘일등악’의 내용이 『악학궤범』에서 명시한 일등악의 범주와도 맞지 않고, 그 이후 시대에 일등악의 사연장면인 <사궤장연회도>와도 다르다는 점에 근거하여 『조선시대연회도』에 수록된 사연 주제 19편의 작품의 주악도상 유형을 6가지로 구분할 수 있었다. 악사, 악공, 여기, 무동, 처용무의 구성여부에 기하여 구분해본 결과 <중묘조서연관사연도>에 제시된 사연은 악사 없이 악공과 여기로만 구성된 가장 간단한 사연의 형태로, 기존의 연구에서처럼 이를 법연(法宴)이나 회례연(會禮宴)의 범주에서 논의할 수 없고, 오히려 곡연(曲宴)의 성격을 띠고 있음을 밝혔다. 아울러 사연 관련 도상목록이나 체계에서 사연의 범주와 개념, 층위의 체계가 혼란스럽게 제시된 점을 지적하고, 본 도상의 시대적 배경인 중종조 39년의 사연 시행현황을 조사하여 사연의 계기와 목적에 따라 ① 대례 및 진연후의 사연, ② 축하사연(祝賀賜宴), ③경로사연(敬老賜宴), ④ 특별사연으로 검토함으로써 조선시대 사연의 시행 양상에 대한 이해를 심화하였다.