조선후기 山陵都監의 匠人 연구－王陵 丁字閣과 石儀物의 제작과정을 중심으로－

Abstract

The construction of a royal tomb was one of important national projects that were undertaken by the Sanreungdogam(山陵都監) temporarily established during a national funeral for kings and queens in the late period of Joseon Dynasty. The dynasty government temporarily installed Gukjangdogam(國葬都監), Binjeon, Honjeondogam(殯殿․魂殿都監), and Sanreungdogam to hold a national funeral. Joaeuijeong(左議政) was a chief (摠護使, Chonghosa) responsible for a national funeral, and Panseo(判書) was assigned to each Dogam(都監) as a supervisor (Jejo, 提調) who oversaw and guided the works or activities of working-level government officials (Docheong都廳, Nangcheong郎廳). Of Dogams, Sanreungdogam was responsible for large-scale constructions that should mobilized artisans of various kinds, including a civil work, construction, sculpture and a painting work. Other than leveling a royal mausoleum and building a mound over a grave, the most difficult work to do was to build the structures, including Jeongjagak (T-shaped ritual building), and to create the stone sculptures, including Munmuseokin (文武石人, the stone images in the form of a civil official and a military official). Sanreungdogam issued the official notice to government offices around the country to mobilize hundreds of artisans and recruit thousands of support workers, including Buddhist monks. This paper addressed the role of Sanreungdogam in the late period of Joseon Dynasty in terms of the organization of management, the mobilization of manpower, and the procurement of materials, emphasizing on the analysis of the artisans who participated in the creation of main artifacts of a royal tomb, including Jeongjagak and Munmuseokin. From this point of view, the study indicated the following conclusions. First, the scale and style of Jeongjagak and the stone sculptures in each royal tomb changed with the times, as those in the royal tomb previously built was copied as a model, instead of applying Gukjooryeeui(『國朝五禮儀』). Jeongjagak copied large scaled 8-kan(칸) Paljak(八雀) roof in Kwangreung(光陵) for King Sejo (世祖, the seventh) in the mid seventeenth century, which was finished with a solid Pungchapan(風遮板) attached between the 8-kan roofs in the end seventeenth century. As Gukjosangryebopyeon(『國朝喪禮補編』) was constituted in the end eighteenth century, Jeongjagak with Pungchapan on 5-kan(칸) roof was built till nineteenth century. The stone sculptures Munmuseokin were 279~300cm high copied on those in Geonweonreung(建元陵) for King Taejo (太祖, the first) in the seventeenth century, and reduced to a life-sized 170~190cm high copied on those in Hureung(厚陵) for King Jeongjong (定宗, the second) in the end seventeenth century, and slightly increased again in 210~250cm high with realistic and lifelike image copied on those in Geonreung(健陵) for King Jeongjo (正祖, the twenty-second) in the end eighteenth century. Second, where and how to source the materials necessary for the construction of Jeongjagak and the stone sculptures changed with the times. The girders of Jeongjagak were made of large wood procured from Chuncheon(春川) and Inje(隣提) in Gangwon Province(江原道), and Anmyeondo(安眠島) in Chungcheong Province(忠淸道). The management buildings for government officials were built with wood obtained around a royal tomb site, or alloted to each town in Gangwon Province, and purchased from lumber merchants around Han-River(한강) in the mid eighteenth century. Large and small size quarries (浮石所, Buseokso) were installed at Noweon(蘆原), Jogye(中溪), Wooiri(牛耳里), Ganghwado(江華島) and Suweon Aengbong(水原 鸚峰) in Kyeonggi Province(京畿道) to extract a sizable block of quality stone for a big Munmuseokin to the end nineteenth century. Third, how to mobilize the artisans for the construction of Jeongjagak and the stone sculptures changed with the times. All artisans were enrolled in the register under the control of Hanseongbu(漢城府) for Seoul, and each town for local area in the seventeenth century. Sanreungdogam issued the official notice to requisition the required category and number of artisans. As the outstanding artisans were employed by Amun (衙門, ministries) and Gunmum (軍門, military organizations) since the end seventeenth century, Sanreungdogam temporarily secured the artisans from Amun and Gunmum till the end eighteenth century. Since then, the most of artisans were involved in the personal business, and some self-employed artisans were hired by Sanreungdogam. After Jeongjagak was built by a carpenter, the detailed work was done by different categories of artisan, including Jegakjang(蹄刻匠), Jogakjang(彫刻匠) and Mokhyejang(木鞋匠), according to the times. Jogakjang or Seopjang(和匠) assumed the full responsibility for carving the detailed images and patterns in a stone shaped by a mason. Each artisan was assisted by Yukjoyeok(肉助役) and Mojoyeok(募助役). Fourth, the social status of artisans in Sanreungdogam was also changed with the times. Specific categories of artisans transmitted the skills from generation to generation, from father to son, or between siblings. Some artisans, including masons and Yajang (冶匠, metalworkers), worked together in group because of the nature of the work. Rojeomjang (蘆簟匠, weaving a straw mat) and Gaeajang (盖兒匠, making a fan) formed a village in Goyang(高陽), Kyeonggi Province. After completing the work, the artisans were paid by raw rice, cloth or coin based on the number of days worked and the grade (1, 2 and 3) in the seventeenth and eighteenth centuries. The labor costs were paid to the self-employed artisans by contract in the nineteenth century. The outstanding artisans who participated in the national services for a long time could obtain a higher rank, including Byeonsu(邊手), Bubyeonsu(副邊手), Dobyeonsu(都邊手), and Paejang(牌將). In the end eighteenth century, the lower class mason Byeonsu increasingly pursued the upward social mobility instead of a material reward. And finally, one of the distinguished outcomes was that this study clearly addressed the absolute years and creators of the existing historic scenes and remains. The artisans who created the royal artifacts in the late period of Joseon Dynasty is no longer an anonymous artisan. Thus, the outcome of this study will give those who study in royal art history a chance to carry out a realistic study linking with the historical facts. In addition to a common analysis of work and visual style in the art history, this study will help intensively address a social, cultural and ideological background for the creation of a piece of work.