고려·조선전기 거가환궁 영접행사 연구 - 기로·유생·교방 삼가요(三歌謠)의 성립을 중심으로

Abstract

The king journeyed outside the palace for various purposes and upon his return to the palace, a symbolic event followed as a token of appreciation for the safe return of the sovereign ruler or for the continuation of the dynasty. The reception ceremony for the king returning to the palace could be regarded as a political act projecting the gratefulness, and a festival holding a large-scale performance. During the Goryeo dynasty, the reception ceremony for the king returning from the royal tour of Seogyeong(西京) and Namgyeong(南京) was specified as follows: holding the great performance with 100 musicians of Gyobang, 40 performers of the An-gukgi(安國伎) troupe, and 160 performers of the Jabgeukgi(雜劇伎) troupe; in the Bureau of Court Music(Gwanhyeonbang, 管絃房 and Dae-akseo, 大樂署), installing the festively adorned stage(Gyeolchae, 結綵) and holding various entertainment performances(Baekhui, 百戱); in the National Confucian Academy (Gukjagam, 國子監), presenting the Yusaeng Gayo. In late Goryeo, however, the ceremony became smaller by substituting Gyeolchae and Baekhui for the Gyobang Gayo. The tradition of Goryeo’s reception ceremony had been preserved until the beginning of the Joseon dynasty, but later came to be established as part of the Royal Ancestral Temple Enshrinement Ceremony of the State Funeral according to stipulations in the annals of King Sejong. The Enshrinement Ceremony marked that the complex funerary rites had been concluded without any problems and that the new king practically ascended the throne. Thus, the reception was still held for the symbolic significance of the Enshrinement Ceremony, although many other national festivals were abolished. The reception ceremony of Joseon consisted of two events: installing the festively adorned stage (Chaebung, 綵棚) and holding various performances with the exorcism ritual (Narye, 儺禮); conferring the Samgayo upon the king. This paper deals with the formation of the latter and aspects of its performances. The tradition of presenting the Samgayo was formed in the Joseon dynasty; The Yusaeng Gayo and Gyobang Gayo had started in the Goryeo dynasty, while the Giro Gayo was established in the early reign of King Taejong(the third king of Joseon) and was included in the reception ceremony for the king returning to the palace following the Enshrinement Ceremony in 1454. However there were constant debates whether to perform the Samgayo Presenting Ceremony because the state ideology of Joseon emphasized frugality. Thus, the Gyobang Gayo Presenting Ceremony was often skipped since it required large-scale implements and female entertainers, and the Ceremonies for presenting the Giro Gayo and Yusaeng Gayo were also reduced by omitting the entertainments involved in them and replacing them with the event of offering up the scroll including the lyrics of the songs. The Gyobang Gayo is recorded in detail in the Akhakgwebeom(樂學軌範), the Manual of Musicology or Musical Canon and many researches on it have been conducted. The Yusaeng Gayo and Giro Gayo, on the other hand, have been inadequately studied. However the Ceremonies for presenting the Yusaeng Gayo and Giro Gayo involved installing Chaebung for holding the great performance of various entertainments and the display of rare and precious objects. In this regard they have great historical significance of performing arts.