조선 17세기 자수그림의 전승과 이행

Abstract

In 17th century Joseon, the greatest of all pastimes was painting by members of the royal family, while embroidered pictures constituted the greatest form of decoration and embroidered cloth the most popular product. 17th century embroidered pictures functioned not only as objects of royal perusal but as representative designs for particular Buddhist rites performed by the ruling elite and as rank badges, such as those found on the front and back of uniforms. Having been used as objects of perusal by the king and as designs for the royal family, 17th century embroidered pictures began receiving strong interest among members of the ruling class from the time of King Sukjong. Sukjong's actions are noteworthy because they were intended to reconstruct royal rites, restore the dignified status of royal designs and create a refined appreciation for the role of morally instructive images. Moreover, the various genres Sukjong perused and created are significant in that they relate to 18th and 19th century embroidered pictures. Sukjong's personal interest in embroidered pictures also drove a change in 18th century men's view of women's arts and writing. In the 18th century, examples of women's art and writing were discovered and the works of female ancestors were bound into albums, while the commissioning, production and appreciation of embroidered pictures was led by men and a custom of owning and cherishing fine calligraphy by noble men and women emerged. We can therefore postulate that the 17th century was a transitional period that led to the 18th century fashion for embroidered pictures and moved away from old forms to pioneer the development of embroidery in terms of iconography and technique, like a Renaissance-esque coming of age period. As a result, the appearance of diverse and specialized embroidered pictures in the 18th century became established as a representative feature of Joseon embroidery.