『지암일기(支菴日記)』를 통해 본 해남 지역의 풍류와 예인(藝人)

Abstract

This study examines the musical appreciation and cultural practices of the literati(文人) in Haenam during the late 17th century, as documented in Yun Yi-hu's Chiam ilgi (1692–1699). Specifically, it investigates the music appreciation of Yun Yi-hu and those around him, distinguishing between professional musicians, household servants, and other affiliated performers, including kisaeng(female entertainer) and kwangdae(male entertainer). Yun Yi-hu, a grandson of Yun Sŏn-do and the father of Yun Du-sŏ, did not personally engage in musical performances. However, he composed Ilminga and frequently enjoyed listening to music played by skilled servants. His acquaintances, including Yi Hyŏng-jing and Song Ch’ang-jwa, were literati who played the kŏmun'go at Yun’s request and often performed alongside his servants. Most of the music-related entries in Chiam ilgi focused on musically talented servants. Female servants who could sing or play instruments were recorded as kabi(歌婢, singing maidservants), kŭmbi(琴婢, zither maidservants), and yabi(倻婢). Male servants who were skilled in wind instruments were commonly referred to as chŏkno(笛奴) or chŏkdong(笛童, flute male servants). The Chiam ilgi reveals that musical servants affiliated with a household learned instruments and singing from either professional musicians or fellow servants. When necessary, they even stayed at other households for extended periods to receive training. Additionally, well-trained servants gained a reputation through word of mouth, and others would occasionally request their services from the master. In Chiam ilgi, the term kŭma(琴兒) often appears to refer to a kisaeng skilled in playing the kŏmun'go. It describes scenes where kisaengs who played the kŏmun'go were present, with literati bringing them to gatherings to enjoy music together. Chiam iIlgi also includes records related to entertainers, shamans, and others, providing a glimpse into the musical culture of the Haenam region in the late 17th century. In the late Chosŏn period, literati often played musical instruments with an emphasis on self-cultivation(修身). However, Chiam ilgi reveals that Yun Yi-hu and his peers used music as a means of immediate enjoyment. The diary depicts literati playing instruments and singing with servant musicians, freely rising to dance and enjoy themselves when they were in high spirits, without regard for others. This shows their desire, at least momentarily, to escape the realistic limitations they faced as members of the Namin(南人) political faction.