순조 궁중연희 내연 무대의 주렴(朱簾), 갑장(甲帳)에 관한 연구 -수리(修理)·배설(排設) 부분을 중심으로- A Study of the Red Blind and Gabjang on the Playacting Stage at the Royal Palace under King Sunjo -Focusing on Repairs and Installation-원문보기
Royal banquets under the reign of King Sunjo saw developments in the playacting stage, which exhibited characteristics unique to the transitionary period between Jeongjo and Gojong this period established the framework of the Joseon Dynasty's playacting stage construction. Starting with the Jagyeong...
Royal banquets under the reign of King Sunjo saw developments in the playacting stage, which exhibited characteristics unique to the transitionary period between Jeongjo and Gojong this period established the framework of the Joseon Dynasty's playacting stage construction. Starting with the Jagyeongjeon-Hall banquet and continuing into the Year of the Golden Rat banquet, the next-day banquet by the Crown Prince demonstrates a renewed format, with the stage also changing accordingly. This change was substantiated by more assertive use of the Red Blind and gabjang. Previously, the Red Blind has been installed in the palace hall and around the royal courtyard, to form three sides, but as next-day banquets became more frequent under Sunjo, the Red Blind developed and came to be installed in accordance with the hierarchy within the royal family. In the Year of the Golden Rat banquet, the Red Blind was lifted and the throne of the crown prince was situated in the palace hall. In the banquet of the following year, however, the Red Blind was let down and the crown prince's throne was placed outside, in palace court yard. This seems to have been a gesture to reorient the crown prince's political standing and restore Sunjo's sovereignty the following year. Hence, the installation of the Red Blind developed in accordance with the royal hierarchy and ranks under Sunjo's reign. The gabjang provided the second layer of protection for the playacting stage. The hongjeongju gabjang surrounded the stage in multiple layers and served as a partition. The gabjang from the Year of the Golden Bull banquet, in particular, boasted a unique installation, where it dangled from both sides of the royal palace's facade. Hongjeongju gabjang, lapis lazuli gabjang, red gabjang, and yellow curtains were installed in the stated order to reflect Sunjo's 40th birthday as well as the 30-year anniversary of his coronation. The Red Blind and gabjang from Sunjo's years were positioned in creative ways to reinstate the royal authority, and demonstrated many improvements from those of Jeongjo's reign.
Royal banquets under the reign of King Sunjo saw developments in the playacting stage, which exhibited characteristics unique to the transitionary period between Jeongjo and Gojong this period established the framework of the Joseon Dynasty's playacting stage construction. Starting with the Jagyeongjeon-Hall banquet and continuing into the Year of the Golden Rat banquet, the next-day banquet by the Crown Prince demonstrates a renewed format, with the stage also changing accordingly. This change was substantiated by more assertive use of the Red Blind and gabjang. Previously, the Red Blind has been installed in the palace hall and around the royal courtyard, to form three sides, but as next-day banquets became more frequent under Sunjo, the Red Blind developed and came to be installed in accordance with the hierarchy within the royal family. In the Year of the Golden Rat banquet, the Red Blind was lifted and the throne of the crown prince was situated in the palace hall. In the banquet of the following year, however, the Red Blind was let down and the crown prince's throne was placed outside, in palace court yard. This seems to have been a gesture to reorient the crown prince's political standing and restore Sunjo's sovereignty the following year. Hence, the installation of the Red Blind developed in accordance with the royal hierarchy and ranks under Sunjo's reign. The gabjang provided the second layer of protection for the playacting stage. The hongjeongju gabjang surrounded the stage in multiple layers and served as a partition. The gabjang from the Year of the Golden Bull banquet, in particular, boasted a unique installation, where it dangled from both sides of the royal palace's facade. Hongjeongju gabjang, lapis lazuli gabjang, red gabjang, and yellow curtains were installed in the stated order to reflect Sunjo's 40th birthday as well as the 30-year anniversary of his coronation. The Red Blind and gabjang from Sunjo's years were positioned in creative ways to reinstate the royal authority, and demonstrated many improvements from those of Jeongjo's reign.
조선시대의 왕실 연희 구성은 바닥에 자리를 깔고 병풍과 갑장을 이용하였다. 또한, 비와 햇빛을 차단하기 위해 차일이 설치되었다. 하지만 전쟁의 상흔과 재해로 인해 궁중연희 역시 변화를 맞이하게 되는데 광해군, 숙종 시기를 거치면서 연희가 축소되거나 연기되는 양상을 보인다.
왕실 연희는 왜 축소 및 연기가 되는 양상을 보였는가?
또한, 비와 햇빛을 차단하기 위해 차일이 설치되었다. 하지만 전쟁의 상흔과 재해로 인해 궁중연희 역시 변화를 맞이하게 되는데 광해군, 숙종 시기를 거치면서 연희가 축소되거나 연기되는 양상을 보인다.1) 조선후기에 들어서면서 왕실의 연희는 주로 대비들을 위로하고 장수를 기원하는 목적으로 설행된다.
조선 후기에 왕실의 연희는 주로 무슨 목적으로 열렸는가?
하지만 전쟁의 상흔과 재해로 인해 궁중연희 역시 변화를 맞이하게 되는데 광해군, 숙종 시기를 거치면서 연희가 축소되거나 연기되는 양상을 보인다.1) 조선후기에 들어서면서 왕실의 연희는 주로 대비들을 위로하고 장수를 기원하는 목적으로 설행된다. 대비들을 위한 內宴은왕을 중심으로 설행된 外宴과는 연희 무대 구성에서 다른 양상을 보인다.
참고문헌 (18)
'조선왕조실록'
'승정원일기'？
'慈慶殿進爵整禮儀軌', 1827
'戊子進爵儀軌', 1828
'己丑進饌儀軌', 1829
이의강 역, '국역 순조무자진작의궤', 보고사, 2006
송방송외 역, '國譯純祖己丑進饌儀軌卷一.卷二.卷三', 민속원, 2007
전통예술원, '국역 헌종무신진찬의궤 卷一.卷二.卷三', 민속원, 2005
한국예술학과 음악사료강독회, '국역 수연등록', 민속원, 2004
영건의궤연구회, '영건의궤: 의궤에 기록된 조선시대 건축', 동녘, 2010
'장용영고사', 수원시, 2005
'원행을묘정리의궤: 역주', 수원화성박물관, 2015
조재모, '조선시대 궁궐의 의례운영과 건축형식', 서울대학교 대학원 박사학위논문, 2003
최지영, '조선시대 궁중의례에서 사용된 차일의 기능과 특성에 관한 연구: 19세기 이후 궁중연향을 중심으로', 한양대학교 건축대학원 석사학위논문, 2009
한수원, '조선후기 궁궐건축의 가변시설에 관한 연구: 판장, 취병, 가퇴, 휘장, 차양을 중심으로', 경기대학교 대학원 석사학위논문, 2000
서지연, '한국 전통 공간막이에 나타난 조형디자인 조사연구: 발과 방장을 중심으로', 단국대학교 대학원 석사학위논문, 2006
Jin-Young Seok and Dong-Soo Han, A Study on the Types and Functions of the Red Blinds(朱簾) used in Playacting Stages of the Royal Court in the Late Joseon Dynasty, Architectural Research, Vol.19, No.1, 2017, pp.13-19
AI-Helper
※ AI-Helper는 부적절한 답변을 할 수 있습니다.