朝鮮時代 17-18世紀 王室 御寶 硏究 = A Study on Royal Seals of the Joseon Dynasty in the seventeenth and eighteenth centuries
저자
발행사항
서울 : 동국대학교, 2013
학위논문사항
발행연도
2013
작성언어
한국어
주제어
DDC
709.51
발행국(도시)
서울
형태사항
ii, 179장 ; 26 cm
일반주기명
지도교수: 최응천
DOI식별코드
소장기관
Seals were produced not only for the needs of authorities but also for personal uses in the Joseon period. Especially, the national seal(國璽, Guksae) took the most significant role to govern the country in both domestic administration and diplomatic affairs, which was recognized and granted from dynasties in China.
There existed other kinds of seals for the royal family, called as royal seals(御寶, Oebo), which were made of gold, silver or jade, on occasions of installing queens and crown princes, and for dedicating bestowal of respectful titles(尊號, jonho) or bestowal of posthumous titles(諡號, shiho) to the late kings, queens and mothers of king. Even though the seals did not represent governmental authorities, they referred names and titles of the royal family, and exclusively owned by them, so that they regarded as treasure, succeeded and preserved in the Royal Ancestral Shrine.
The royal seals gradually produced in more than five hundred years of the Joseon dynasty, and about three hundred twenty of them have been handed over to the present. It is very rare case that one sort of crafts obtains such a long continuity, therefore, the craft provides us with crucial information on trends and transmission of metal and jade crafts in general. In addition, they were manufactured with appurtenant crafts such as clothwrapper, boxes(寶筒, Botong/寶盝, Borok), lock and protector(護匣, Hogab) and so on, it provides us with more abundant academic resources. The most important and reliable material in this study is Uigwes, the earliest remaining is the volume of sixteen four, which make this research more accurate analyses on the protocols and manufacturers. The type of the royal seal in the late Joseon dynasty originated from the type of the seventeenth and eighteenth centuries, and continuously influenced to later periods till the Korean Empire.
In spite of such a crucial point, none of researches have analyzed the manufacturers through Uigwe. This dissertation would pay attention on Uigwe to understand the background and protocols of the craft, and to conduct the changes of type on the royal seals on the basis of studies of the producers and the officers in charge .
The royal seals were created on commemorations of installation, dedicating bestowal of respectful titles or posthumous titles, and national funerals. In cases of damages or missing, they were reproduced. Generally speaking, golden seals addressed to the installation of queens and to bestowal of posthumous titles to the late kings, queens and mothers of king in national funerals. On the other hand, jaden seals were applied for the installation of crown prince and princess and dedicating bestowal of respectful titles to king, queen and mothers of king.
Before producing a seal, the characters was written by a selected calligrapher, usually known as a contemporary master of calligraphy, after the content of the seal had been decided. Golden seals were formed in wax casting with post-processing design, and jade craft were carved on jade which mined in Namyang.
According to Uigwes, more than ten specialized craftsmen were co-worked to create a set of royal seal in relatively short time. The golden seal, a main item, was made by golden seal experts, whose technique was not limited to specific area, but performed in various relative fields. From the fact that some royal masters in the seventeenth and eighteenth centuries even produced Buddhist bells, the features of the manufacturers could be graped.
In the most cases, royal craftsmen of golden seal were official manufacturers belonging to the authorities and it is mainly because dealing gold is strictly restricted by government, even though the seals were gold-plating. A main master co-worked with his deputy in most cases, and after finishing one cycle of producing process, the deputy succeeded to the title in the next process. As a result, this craft shows conservativeness in tradition of manufacturing. On the other hand, most of jade seal craftsmen were masters in private sectors. They were recruited on occasional bases on a nationwide scale.
Apart from craftsmen, this study takes notice of a group of officers, called as Byelganyeok(別看役), in the producing process of royal seals. They were able to produce the crafts by themselves and took a crucial role in the process to meet a certain level of quality standard. Their fields were not specified, rather expended to various areas like stone figures in royal tombs, royal buildings, and musical instruments etc. They initially appeared in seventeen thirteen in the process of royal seal producing with the names of jade seal producer(玉寶造成人), jade carver (玉寶篆刻武人), royal seal producer(玉冊金寶完造人) and so on, thereafter, acquired the alias of Byelganyeok in the late eighteenth century.
The royal golden seals of the early Joseon described realistic shapes of turtle, which identified themselves from Chinese ones. the realistic trend of the early Joseon was transformed into another mode in the period of King Sukjong, that is, head of turtle was imaged as a dragon head, resembling turtle base of a stone monument. In this period, needs to repair royal treasure arose, and new design and motifs were introduced. The type of individual craftsman could be found in details. In case of royal jade seals, the design of dragon head was introduced in seventeen thirteen when Byelganyeok started to participate in the process of royal seal producing. It identified the individual mode of Byelganyeok Choi, Cheonyak in the period of King Youngjo from the previous mode in the period of King Sukjong. The established mode widely influenced on royal seals in the period of King Jeongjo when Choi mode dominated the era, and Pyo, Deokwoon, a royal craftsman of golden seal, and Hwang, Kyungwook, a royal craftsman of jade seal also created their own modes respectively.
This dissertation devote itself to illuminate the typical transition of the royal seals of the late Joseon dynasty in the seventeenth and eighteenth centuries, focusing on manufacturers groups. Although it deals with specific period and items, some crucial aspects of the Joseon royal seals are explained. However, lacks of researches on national seals and royal seals in the nineteenth century restrict the performance of this paper. It will be carried out in the future researches.
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