영조(英祖) 17~19년 악기･악학(樂學)의 재정비와 그것의 정치적 함의

Abstract

King Yeongjo(r.1724~1776) of Joseon Dynasty showed great interest in courtesy and music during his reign. In other hands, he exercised stable political power after the 17th year(1741) of his reign. His interest in music from the 17th to 19th year of his reign and the national projects based on this interest are thought to be related to the exercise of his royal authority. The project to project to make the instruments to play East-Asia Courtesy Music used at hwangdan, which was proceeded at the 17th year of his reign, started incidentally. At first, King Yeongjo didn’t intervene directly in the project. However, after the relics of pyeon-gyeong(East-Asian percussion instrument made of stone) made during the period of King Sejong had been discovered, King Yeongjo showed great interest in it, examining those relics in person. From this time, King Yeongjo actively met members of Akgi Joseong-cheong(Office for producing musical instruments), represented by Yi Yeondeok. Furthermore, even after the completion of the instrument-making project, he displayed special interest in the production of musical instruments and proceeded related projects. Considering the chronological sequence, it can be estimated that King Yeongjo used the instrument project to politically reinforce his royal authority. Those events became the background of the republishment of Akhawgwebeom(Book on the Standard of Musical Study) at the 18th year of his reign. When this book was republished, he drew up The Short Preface of Akhakgwebeom by King Yeongjo. In this text, he emphasized the importance of the imperial benevolence at the beginning of Joseon Dynasty, “great development of courtesy and music” at the period of King Sejong, and the projects of King Yeongjo himself to reorganize music. In addition, using the book as a medium to remind bureaucrats of jin-yeon(court banquet) at the time of King Sukjong, he uttered the words accentuating filial piety, showing his favorable attitude toward King Sukjong. Although there were difficulties, he finally holded eo-yeon(royal banquet) in the 19th year of his reign. King Yeongjo directed to use hymns including Hahwangeun(Hymn to appreciate the imperial benevolence) during yangroyeon in this eoyeon event. Especially in the Ha-hwang-eun, he included a new poetic literature that he recomposed himself to emphasize honoring the Ming dynasty and maintaining loyal righteousness. He also had it contained into The Short Preface of Akhawgwebeom by King Yeongjo on Akhawgwebeom. Like this, by intervening in these events in person, he disclosed his will on political ideology. Those projects on music from the 18th to 19th year of his reign were accomplished around the period of the publishment of the books on “courtesy, music, law enforcement, and political principle”, which was near the 20th year of his reign, and they symbolized the stabilization of the regime after 17th year of his reign. Even after the period, he tried to reinforce the royal authority through courtesy and music, establishing the period of 17th to 19th year of his reign as a standard. Going through the period, music became the medium that linked the initial stage of Joseon Dynasty which was the years of the imperial benevolence, the period of King Sejong when “courtesy and music were greatly developed”, and the period of King Yeongjo himself. King Yeongjo utilized this not only in his period of reign but later. As a proof symbolizing the stability of political situation after the 17th year of King Yeongjo’s reign, it contributed to his showing off the “courtesy, music, law enforcement, and political principle” which were reorganized during his reign.