조선후기 칠궁七宮 소장 목조감실과 왕실공예품의 보문寶文 연구

Abstract

This paper identified the type, arrangement, and style characteristics of the Bomun patterns by dividing it by period, targeting the wooden niches and royal crafts in the Chilgung shrine in the late Joseon Dynasty. Chilgung were 7 shrines that enshirned the king's mother, not the queen. Until now, there were closed to the public, so there were no research on the wooden Niches or Bomun patterns inside. Accordingly, we looked at the royal shrine and Bomun engraved on the wooden crafts of the feast, which were built separately from the period of the 18th century, the early 19th century, and the late 19th century. The Bomun patterns, which were constructed in the wooden niches of Jeogyeonggung shrine in 1755, was painterly. There were various types of Bomun inscribed in the kilns of Moonhee-myo shrine in 1789 and Hye-bin in 1795. Three types of Bomun patterns were embossed on the palace in 1824 or the the king's chair at the royal feast in 1829. Bomun patterns were engraved on the royal chambers of Yuksanggung shrine and Yeonhogung shrine in 1883 or on the the king's chair at a royal feast in 1892. As the times went down, the number pattern of embossed on the artifacts increased from 8 to 10, and the types of patterns decreased to 2-3 types. The content of the pattern has changed to a Taoist meaning rather than a Buddhist symbols. As such, among the royal crafts of the Joseon Dynasty, the Bomun was engraved on the horizontal and narrow plate surface, and the type of patterns tended to be arbitrarily selected from simple forms that were easy to engrave. Through this, it can be seen that in the Joseon Dynasty, Bomun was used to highlight the meaning of a shrine remembering of the king’s mother or a royal feast wishing for a long life for royal family.