『한금신보』(1724) 편찬자의 음악적 배경

Abstract

Han'gŭm sinbo 『韓琴新譜』 is the kŏmun'go 거문고 score compiled on the basis of Han Lip’s (韓笠 or 韓立) score by a descendant of Ŭngch'ŏn 凝川 in 1724. This score received an attention as a kŏmun'go score which provides valuable information for making known the changes of kŏmun'go music between Kŭmbo sinjŭng karyŏng 『琴譜新證假令』(1680) and Yuyeji 『遊藝志』 of the late 18th century. However, about a descendant of Ŭngch'ŏn who compiled Han'gŭm sinbo, things have been hardly known, for example, which family he was from or what historical, social, or musical background he had. Thus, this article aims at trying to figure out the family of a descendant of Ŭngch'ŏn based on some of the information known about him and then mainly examine the influence of the musical background surrounding him on the compilation of Han'gŭm sinbo. It has been found that Sumyŏngjŏng 水明亭 (literally meaning Sumyŏng pavilion) where a descendant of Ŭngch'ŏn lived in childhood was the pavilion founded by Pak I-sŏ 朴彛叙(1561∼1621) belonging to the Sobuk 小北 sect in 1616 near the Map'o 麻布 area of the Han River (Han'gang 漢江). And the family of Pak I-sŏ is the Miryang Pak clan (密陽 朴氏), that is, Ŭngch'ŏn, so we can also see that a descendant of Ŭngch'ŏn was one of the descendants of Pak I-sŏ. Sumyŏngchŏng was the space for cultivating oneself and appreciating the arts for Miryang Pak’s family, and it was also the place where a descendant of Ŭngch'ŏn had a vision for kŏmun'go music for the first time in his life. And the Samp'o 三浦 area of the Han River 漢江 where Sumyŏngchŏng was located was, in fact, the place for musical activity to kŏmun'go players like Han Lip' or Kim Sŏng-gi 金聖基 in the late 17th century. Even though a descendant of Ŭngch'ŏn’s family was the Sopuk sect that was alienated by the political world then, it kept producing government officials who took charge of music in the Royal Music Institute of the Chosŏn Dynasty known as Changagwŏn 掌樂院 and the National Confucian Academy (Sŏnggyun'gwan 成均 館). This seems to have been resulted from the atmosphere of the family loving music and also its awareness of the importance of music and effort to be near it all the time and acquire it sincerely. And it is also thought that a descendant of Ŭngch'ŏn could quote a lot from the Akhak kwebŏm 『樂學軌範』(Guide to the Study of Music) compiling Hankŭmsinpo because he was one of the descendants of a family that produced government officials working in the Changagwŏn. A descendant of Ŭngch'ŏn of ancestor, Pak No 朴籚(1584～1643), visited Qing 淸 China for several years as a Qing correspondent and then came back and possessed the books from Qing China in his family. This is how a descendant of Ŭngch'ŏn could quote records about music from such books as Hyŏngch'ŏn p'aep'yŏn 『荊川稗編』 and Manbo chŏnsŏ 『萬寶全書』 to write Han'gŭm sinbo. As a result, Han'gŭm sinbo could include not only Kŭmron 『琴論』 contained in previous musical books or kŏmun'go scores but also diverse musical theories and Kŭmron in China, too. Meanwhile, a descendant of Ŭngch'ŏn did quote several Kŭmron of Yanggŭm sinbo 『梁琴新譜』 to compile Han'gŭm sinbo. From this, we can assume that there was musical exchange between Pak No and Kim Tu-nam 金斗南(1559～1647) in charge of publishing Yanggŭm sinbo, and through human networks created by marriage among the family in the next generations or such, a descendant of Ŭngch'ŏn could encounter and also quote Yanggŭm sinbo without much difficulty. Material that was written by the person regarded as a descendant of Ŭngch'ŏn himself has not been open to the public yet; however, presently, Miryang Pak Ch'unghŏnkongp'a 忠憲公派 family’s literatures have been actively arranged and opened to the public. As Han'gŭm sinbo is what was written by a descendant of Ŭngch'ŏn in person, it is expected that who a descendant of Ŭngch'ŏn is will be known sooner or later with the comparison of the handwriting.