조선후기와 청나라의 궁중연악 비교 고찰

Abstract

The royal court banquet is one of the very important functions in the Korean and Chinese royal court, and a study on the use of music at a banquet can be a very important clue to understanding the Korean and Chinese royal court music and art. Until now, Korean and Chinese scholars have been conducting various studies on their royal court banquet music (kungjung yŏnak 宮中宴楽), and achieved considerable success. However, as few studies have been done to compare the royal court banquet music of Korea and China, this paper selected similar periods, i.e. the Chosŏn 朝鮮 period and the Qing 清 Dynasty, and investigated and studied the royal court banquet music. Also, the royal court banquet music was studied in two aspects, that is, performance contents and composition of performers. Unlike the yŏak 女楽 (female entertainers) performance which could be found in both naeyŏn 内宴 (banquet for female) and oeyŏn 外宴 (banquet for male) throughout the Chosŏn period, yŏak was performed only in naeyŏn, and Changagwŏn 掌楽院 (Royal Music Institute) did not have any yŏak who was in charge of ak 楽 (music), ka 歌 (singing) and mu 舞 (dance). Under these circumstances, depending on the needs of the royal court banquet, oebang yŏgi 外方女妓 (kisaeng 妓生 from outside of Seoul) were selected or women with ŭinyŏ 医女 (medical profession) and ch'imsŏnbi 鍼線婢 (seamstress slaves) participated in performance, which was a new aspect of the Chosŏn period. The Qing Dynasty abolished yŏak soon after its foundation, and never used yŏak again since then. As yŏak in the royal court banquets of the two countries declined or abolished, it has different characteristics than the previous period. Due to the abolition of yŏak, the royal court banquet music of the Qing Dynasty was performed by eunuchs and civilian musicians (belonging to waixue 外学) and the musicians of neighboring ethnic groups and countries. It is not an exaggeration to say that eunuchs played the most important role in the performance of the royal court banquet music. Additionally, Chŏngjae 呈才 (royal court dance) was the main component of the royal court banquet music of the Chosŏn period, which has the comprehensive royal court music style consisting of music (ak 楽), singing (ka 歌) and dance (mu 舞). On the contrary, the royal court banquet music of the Qing Dynasty consisted of singing and dancing, hŭigok 戯曲 (plays), chaphŭi 雑戯 (miscellaneous acrobatics), and the music and culture of neighboring ethnic groups, and civilian musical art, such as hŭigok and chaphŭi, takes up the largest part. There is also a difference in the composition of male performers. Most of them were court musicians and male dancers in the Chosŏn period, whereas most of them were eunuchs in the Qing Dynasty. There was a clear difference in the purpose of holding a royal court banquet between the two countries. In the Chosŏn period peace, the strengthening of the authority of the king, and the longevity of the king were emphasized, while in the Qing Dynasty the tradition of Manzu 満洲 and the harmony among ethnic groups and countries were regarded as important.