韓國 傳統 刺繡屛 九雲夢圖에 관한 硏究

Abstract

Embroidery which was an important part of the art fabric history in Korea has taken firm hold in the life of the nation. Starting from ancient times to the Three-Kingdom era, unified Silla, Koryo, and Chosun dynasties, the practical function which is had been enriched, and in particular the ornamental and artistic functions was developed and established from the end of the Koryo to the Chosun dynasty. By the late-Chosun dynasty a new recognition of the design for embroidery was pursued, and hence the independently aboriginal tendency can be found in the GD that is a traditional embroidered screen. The most marked features of GD is present in the selection of materials and in the broader techniques of expression. The material of embroideries prior to GD was not deviated from simple repetition or imitation of the Chinese materials, causing the limit of expression. Thus GD which adopted a new field of vision in selecting materials might be an epochal reap by selecting a Korean novel. Such an introduction of both subjective and developmental materials and varied techniques of expression shows a phase of the developing history of art fabric. For a synthetic understanding of GD, a traditional embroidered screen, in terms of art fabric, this study viewed the consistent trend of traditional embroidery with its historical background, and attempted to reevaluate the creative power of art fabric, from art-psychological approach, through comparative study with Goounmong that was a novel written by Seopo, Kim Man Chung. In addition, the position in the art fabric history was to be measured together with rearranging the embroidering techniques. The rationale of adopting the present subject, GD, is; the characteristics found in materials; the fact that various embroidering techniques were expressed by carring the content of a novel into pictures; the expectation that closer approach to the working background will be possible with historical literatures. The purpose of this study was to analyze the artistic proceeding mode when the contents of a novel with emphasis on description was diverted into pictures, to find an identity and novelity beyond the imitation of the Chinese embroidery, to rearrange the embroidering techniques found in GD, and to systematize the possible historical approaches in terms of art fabric, casting off the scarcity in working background. The methods used in the study were the appreciation of existing works and the comparison of literatures related to GD with those associated with the fashion history and other historical records. Besides, a synthetic understanding of GD was to be induced from viewing the origin and developing stages of traditional embroidery by era and analyzing all the works throughout. When the sense of the times, the great ten-fold GD showed up a complete embroidering work by newly discovering in material and theme, this meant that both the new and intrinsic consciousness of artists for the popular arts and appreciators' sense were changed into national identity and local popularity. Furthermore, there are much more works can be estimated under the proof that many other imitative embroiders were discovered in concert with the public and that they kept their place in the late-Chosun dynasty when less example of the same theme and technique came into existence. In addition to realizing the identity in theme and materia1,GD attained a complete world of art fabric by expressing the beauty of formative sense peculiar to embroidery itself with more originally deep technique than that of picture. Both the innovation in material and the variety in technique were a manifestation of embroidering mode suited to newness of its embroidering picture, and GD was a successful case of the experimental works that opened up the developmental stage of embroidering art. In view of the facts as we stated above, GD keeps a its own peculiar position in the art fabric history of Korea, and serves as a concrete model for the positive development of traditional embroidery in modern times. This study was a earnest approach to the developing process and working background of traditional embroidery, and a reaffirmation of the works of art that expressed human being's spritual aspiration for material possession. I expect this study to be help to the broader understanding of future researches which will approach to the traditional embroidering works in terms of art fabric and their history. I believe that we can find the effect on traditional embroidery in Japan with working background discovered, if more systematical studies are continued for the traditional embroidery of Korea. In such a macroscopic level, hence, more active participation should be realized for the modern succession and creation of traditional art of embroidery.;韓國 纖維藝術에서 중요한 영역을 차지하는 剌繡는 오래전부터 우리 생활속에 깊이 관런되어 왔다. 三國時代 이전에 中國의 영향을 받아 시작된 것으로 보이며, 三國時代와 統一新羅時代의 문헌을 통해 유추하였다. 高麗時代는 왕가와 귀족들을 중심으로 발전하였으나, 의식용으로서의 기능이 중심이 된 시기였다. 朝鮮時代로 접어 들면서 단순한 의식용만이 아닌, 실용적 기능이 강화되면서, 장식적이고, 예술적 기능이 본격적으로 전하였음을 문헌이나, 실물자료를 통해 파악할 수 있었다. 이러한 傳統剌繡의 발전적 흐름위에서 朝鮮時代후기에는 剌繡의 밑그림에 대한 새로운 인식을 추구하는 단계로까지 발전하여, 剌繡의 역사가 주체적 측면에서 토착화하고 있음을 몇 가지의 작품과, 剌繡屛 九雲夢圖에서 발견할 수 있었다. 본 논문은 우리나라 傳統剌繡屛의 하나인 九雲夢圖에 대한 纖維藝術的 이해를 위한 종합적인 연구이다. 剌繡의 역사적 배경과 함께 토착화된 刺據傳統에 관하여 연구하고자 하며 소재로 수용된 西浦 金 萬重의 소설 九雲夢과의 내용비교를 통해 剌繡藝術의 창작여지를 藝術心理的인 접근으로 재평가해 보고자 하며, 剌繡屛에 표현된 剌繡技法의 정리와 함께 纖維藝術史的 위치를 다루고자 하였다. 이러한 이유는 다수의, 傳統剌繡 작품의 소재가 관습이나, 자연의 묘사 또는 종교적 기원에 관한 일반성을 표현한 데 비해 규방의 여성들에게 애호되었던 韓國의 소설을 소재로 선택하였다는 剌繡 소재상의 특성을 지니고 있다는 점과, 그 소재의 내용을 방대한 剌繡技法으로 섬세하게 표현하였다는 점, 그러고 제작 시기와 제작자가 전혀 밝혀지지 않는 타작품과는 달리 제작배경을 비교적 가까이 접근할 수 있다는 점 등이다. 여기서 中國 剌繡의 모방이 아닌 韓國的 소재 개발로 창작된 剌繡屛의 참신성과 주체성을 높히 평가하고자 하며, 10曲에 표현된 기법의 특성은, 朝鮮時代 후기 剌繡史에 독특한 위치를 차지할 수 있다고 본다. 九雲夢圖의 구성이 소설의 주요내용을 10개의 장면으로 선택하여 剌繡化하였다는데 소설내용의 순서대로 연결된 것이 아니고, 剌繡倂의 제작자가 임의로, 선택 배열하여 낭만적인 귀족의 풍류를 부귀와 수복이라는 측면에서 재편성한 것으로 보여진다. 剌繡技法으로서의 특징은, 자연물과 인공물의 표현과 함께 인간의 행위에 대한 구체적인 묘사를 독특하게 표현하였으며, 기법의 종류도 다양하여 이를 정리함에 큰 의의가 있으리라고 본다. 이러한 점으로 보아 刺繡屛 九雲夢圖는 中國剌繡의 영향권을 벗어난 韓國的 개성에 의한 형성이라는 본격적인 傳統藝術의 주체적 발전의 한 흐름을 강력히 보여 준다는 점에서 纖維藝術史的 의의를 높힐 수 있는 구체적인 사례가 된다고 본다.