17세기 인,숙종기의 도화서(圖畵署)와 화원(畵員) = The Academy of Painting and its Painters in the 17th Century Joseon

다국어 초록 (Multilingual Abstract)

The 17th Century in the history of Joseon was the time of turbulence with a lot of changes going on in and out of the country as the nation faced major wars such as the Japanese Invasion of 1592(壬辰倭亂) and the Manchu Invasion of 1636(丙子胡亂). This paper studies the actual circumstances of the Academy of Paining(圖畵暑) during the 17th century, especially during the periods of Kings Injo(仁祖), Hyojong(孝宗), Hyeonjong(顯宗) and Sukjong(肅宗) based mainly on two sets of government compilation, the Annals of Joseon(朝鮮王朝實錄} and the Seungjeongwonilgui(承政院日記). During the reign of Kings Injo, Hyojong, and Hyeonjong, the nation was exhausted with war(during the time of King Injo), was immersed in war preparations to revenge on Manchuria(during the time of King Hyojong), or was impoverished by the great famine and the epidemic diseases(during the time of King Hyeonjong). There was no concern or support for the Academy of Painting or for painting. King Injo who showed special interest in the Academy painter, YiJing(李澄), however, did not attempt a support for the Academy of Painting or the area of painting as a whole. During the reign of Kings Hyojong and Hyeonjong, the government excluded painters from the diplomatic troupe dispatched to China, or even abolished the annual production of New Year`s Good-luck Paintings(歲畵) and souvenirs for the retrenchment of finance. Such a tight finance in the Academy of Painting continued on to the time of King Sukjong. King Sukjong loved painting and calligraphy, was greatly interested in the Academy of Painting and its painters and initiated a support drive. The articles related to the Academy of Painting or the painters in the government compilation increased greatly in number compared to those during the previous kings and show that various measures were suggested or put to effect to support the painters. However, it was also King Sukjong who offered the site of the Academy of Painting to Princess Myeongan(明安公主), his sister, and left the Academy painters without proper facilities in which to work for the next decades to follow. The original location of the Academy of Painting according to the Augmented Survey of the Geography of Korea(新增東國興地膀覽) was in Gyeonpyeongbang(堅平坊), Jongnogu Gwanhundong). The Academy occupied 800 kan(間)-buildings. However, after the buildings were taken over to the Office of Princess Myeongan, the Academy of Painting, instead, was offered the buildings of Yebinshi(禮賓寺) and Tongnyewon(通禮院), those of Chungikbu(忠翊府), and those of Taepyeonggwan(太平館). They also received the houses confiscated from those convicted or executed for political reasons. However, not any of those facilities seem to have been large enough or conveniently located for the Academy painters. By 1713, the painters were using two of the three facilities of the Ministry of Rites(禮曹); one was in Yihyeon (梨峴, Jongno 4-ga), one near Doneuimun Gate(敦義門 안), and another near Donggu(洞口 안). In the Map of the Capital City from Yeojido(輿地圖) produced in the mid-18th century, two locations for the Academy of Painting can be pointed out, one in the south of Donhwamun(敦化門) which is the main gate of Changdeokgung Palace, and another near Sogwangtonggyo Bridge(小廣通橋) in Taepyeongbang(太平坊). This must have been the location of the Academy of Painting after the above-mentioned facilities. As the book, Reference Compilation of Geography of Korea(東國輿地備考) which was compiled during the reign of King Gojong(高宗) writes the location of the Academy of Painting as to be in Taepyeongbang, it can be presumed that the facilities were concentrated there afterwards. Meanwhile, the Academy painters had heavy work load and they toiled night and day, but the problem was that about half of them had not been paid at all. With King Sukjong`s support drive, however, various suggestions were made to improve their work conditions including the payment. In 1682, the Academy tried to secure five more paid-cheajik(遞兒職) positions which, however, was not successful, but in 1689, it succeeded in establishing three paid positions for the painters. In 1692, another paid-cheajik position was added for a painter who had been promoted to Dongbanjik(東班職) and retired from the Academy, which means highly experienced and skillful painters could be invited in the Academy again to teach the juniors. Afterwards, yet another similar position was added in the Academy. Meanwhile, the New Year`s Good-luck Paintings which had been abolished was revived again in 1689 according to the petitions made by the painters. Since the painters were paid for the New Year`s Good-luck paintings, it could be an important source of income for them. Also, in 1690, the Academy secured more servants to do the chores. With all the measures taken for the improvement of work conditions, the Academy painters were greatly encouraged in their job. The concern and support given to the Academy and its painters continued on during the reign of Kings Yeongjo and Jeongjo, leading to the consistent nurturing of painters, which must have served as a solid foundation for the development of paintings in late Joseon period.