金系 高麗銅鏡 硏究

다국어 초록 (Multilingual Abstract)

Mirrors of the Goryeo (高麗) period included not only those with the unique patterns of the Goryeo dynasty but also ones in the style of various Chinese dynasties ranging from the Song, Liao, and Jin dynasties, with which Goryeo traded, to the dynasties that preceded them. As for the latter ones, some had inscriptions to show they were imported into Goryeo, but most of them were Goryeo recasts or imitations based on Chinese originals whose exact manufactured site and distribution routes have not been easily identified.
Following the recent active excavations in China and Russia, however, some of the conditions in which the bronze mirrors of the Jin dynasty were produced have been newly discovered. These mirrors acquired their own original characteristics through inheriting the tradition of the bronze mirrors of the Tang dynasty as well as being influenced by the Song and Liao dynasties.
Furthermore, even in Korea, certain materials and evidence that enable the identification of the Jin dynasty bronze mirrors through inscriptions have been excavated around Gaeseong(開城), making it possible to shed light on the Jin dynasty style Goryeo mirrors.
Analysis of the inscriptions on the Jin dynasty bronze mirrors excavated in Korea is expected to reveal how and when they were imported into Goryeo, specifying the excavated sites of the Jin dynasty style Goryeo mirrors which have not yet been clearly identified. In the meantime, Jin dynasty style Goryeo mirrors have also been excavated from the tombs of the Goryeo period in South Korea, making it possible to understand to some extant how the Jin dynasty style mirrors in Goryeo were used domestically.
The examination of the Jin dynasty style Goryeo mirrors provided an opportunity to look into the exchanges between the Goryeo and the Jin dynasty which has been less researched than those between Goryeo and the Song, Liao or Yuan dynasties. It also offered opportunities to look into the aesthetic sense and distribution conditions of those times through the various patterns inscribed on the backs of the mirrors. In addition, analyzing the mirrors through their stylistic characteristics makes it possible to review certain dates or periods when typical Goryeo period mirrors - such as the bronze mirror decorated with images of a dragon, tree and palace (Yong-Su-Jeon-Gak-Mun-Gyeong, 龍樹殿閣紋鏡), and the bronze mirror inscribed with four characters and depicting a figure sitting in a sailing boat under the sun and moon (日月煌丕昌天銘鏡) - were manufactured.
After examining the Jin dynasty bronze mirrors that were excavated in Korea with inscriptions showing their manufactured origins, it has been discovered that the mirrors were inspected in various places ranging from Hei Long Jiang Province(黑龍江) to Shan Xi Province(山西) before they were imported into Goryeo.
The Jin dynasty bronze mirrors imported into Goryeo were mostly from places geographically close to Goryeo, such as Ji Lin Province(吉林), Liao Ning Province(遼寧) and Tian Jin(天津). In particular, Goryeo was engaged in brisk public and private trade with the Jin dynasty in those places. Therefore, it is presumed that the Jin dynasty bronze mirrors were imported into Goryeo through the northwest route that passes through Ui Ju(義州) and Jung Ju(靜州).
In addition, there is a possibility that the Jin dynasty bronze mirrors which were inspected in the northeastern regions such as Hei Long Jiang and Ji Lin provinces were imported into Goryeo through the northeast route that passes through Jeongpyung(定平)and Cheongju(靑州), near the east coast where the nation carried on trade with the Jin dynasty.
Tracing the history of the names of inspected sites where the Jin dynasty bronze mirrors were imported into Goryeo suggests that the mirrors started to be imported into Goryeo in 1153 at the earliest and continued until around 1193. According to literature, this period belongs to the reigns of King Uijong and Myeongjong (毅宗, 明宗, 1146~1197) when the trade between Goryeo and the Jin dynasty was at its most vigorous.
Therefore, given that it was from around 1160 in the early Da-Jing period (大定年間) that the Jin dynasty started to carve inscriptions onto mirrors as part of the policy prohibiting the use of copper, it is presumed the Jin dynasty bronze mirrors began to be imported into Goryeo after the mid-twelfth century, and towards thelate twelfth century the distribution of the mirrors vastly increased.
The Jin dynasty bronze mirrors imported into Goryeo were varied, ranging from high quality mirrors cast and supervised by official craftsmen to low qualityprivately produced ones.
They included not only bronze mirrors depicting figures and legends (人物·故事紋鏡), figures of children playing (童子遊戱紋鏡) and the imitations based on the Han or Dang dynasties but also Song and Liao dynasty style mirrors. In particular, the latter ones show that the Jin dynasty served as a bridge for the transmission of the cultures of the Song and Liao dynasties to Goryeo, indicating that foreign cultures could be imported into Goryeo through various routes.
Both the Jin dynasty imports and the Jin dynastystyle Goryeo mirrors excavated around Gaeseong (開城) represent a new style of mirror plate that aggressively applied pictorial elements such as waterfalls and royal palaces, creating an in-depth sense of space in the composition and departing from the traditional style that had been inherited from before the Song dynasty.
These representations of the pictorial motifs were mostly applied to bronze mirrors depicting Taoist figures and legendary ancient tales. Since the Jin dynasty style Goryeo mirrors with such pictorial motifs corresponded to the idealistic pursuit of the literati scholar who wanted to live as a recluse in nature, they seemed to have been used by wealthy literary elite men living near Gaeseong (開城) during the Goryeo period.
The mirrors were not only appreciated as an artistic object like paintings but were also sometimes used as a talisman to protect the owner. In addition, as they were such a popular consumer item suiting the spirit of the time, the Jin dynastystyle mirrors depicting Taoist motifs were ardently accepted and became prevalent in the Goryeo period.
The distribution and chronicle of the Jin dynasty style Goryeo mirrors can be largely divided into two periods: the first period which can be dated from the mid-12th century to the early 13th century and the second period which is from the mid 13th century to the 14th century. It was in the first period that the style of Jin Dynasty mirrors was actively accepted and widely spread in Goryeo, due to vigorous trade exchanges between Goryeo and the Jin dynasty.
In addition, during the first period, typical Jin dynasty style Goryeo mirrors began to be manufactured and sold. Some of these mirrors included depictions of legendary tales, some were imitations of ancient mirrors, and others had images of children playing or four-character inscriptionsdescribing a figure sitting in a sailing boat. This first period was in accord with the circumstances of the Jin dynasty in which the unique style of mirrors of the dynasty began to be manufactured from the King Xi-Zong's reign (1135~1149) and blossomed during the Da-Jing period (1161~1189).
Furthermore, typical Goryeo mirrors such as the bronze mirror with dragon, tree and palace designs (龍樹殿閣紋鏡) and the bronze mirrorwith a four character inscription describing a figure sitting in a sailing boat under the sun and moon (日月煌丕昌天銘鏡), which were newly interpreted and manufactured by Goryeo craftsmen acquainted with the designs of the Jin dynasty style mirrors, are highly likely to have been produced during the first period, according to the analysis of their excavation conditions and styles. Other craft works produced in thestyle of the Jin dynasty also considered to belong to the first period.
During the second period (from the mid 13th century to 14th century) the Jin dynasty style of the mirrors continued while there were other influences from the Yuan dynasty. This could be confirmed by the evidence of Jin dynasty style Goryeo mirrors excavated from the tombs of the Goryeo period in South Korea. In other words, the Jin dynasty style mirrors of the first period continued to be used and mirrors were produced in new shapes or after making partial changes to the ones of the first period which were distributed during the second period. This phenomenon showing that the Jin dynasty style Goryeo mirrors were gradually in decline in terms of quality during that time, was found not only in Goryeo mirrors but also in Yuan mirrors.
Moreover, the Jin Dynasty style Goryeo mirrors produced during this second period mostly had patterns imitating those of the mirrors of the Han or Tang dynasties. This is considered to reflect the situation in which Goryeo, tradingactively with the Jin dynasty from the first period, further utilized mirrors as export products by using the Jin dynasty's policy prohibiting the use of copper.

국문 초록 (Abstract)

高麗 공예품 중 하나인 銅鏡(이하 高麗鏡)에는 고려만의 독자적인 紋樣으로 제작된 것 이 외에도 동시대 교섭하였던 宋․遼․金 뿐 아니라 그 이전에 이르기까지 다양한 中國系 銅鏡이 포함돼있다. 이러한 中國系 銅鏡은 대부분 再鑄鏡이거나 倣製鏡으로 이들의 정확한 제작지와 유통경로를 파악하기에는 한계가 많은 것이 사실이다. 그러나 최근 중국, 러시아의 활발한 발굴성과로 인해 唐鏡의 전통과 宋․遼와의 영향관계 속에 독자적인 특징을 구축한 金鏡의 제작 상황이 새롭게 밝혀졌고, 우리나라에서도 銘文을 통해 金鏡임을 알 수 있는 자료들이 남아있어 金系 高麗鏡을 조명해볼 수 있게 되었다.
우리나라에서 출토된 金鏡의 銘文을 분석해 보면, 金鏡이 金에서 高麗로 수용된 경로와 시기를 밝힐 수 있어 그 간 출토지가 불분명했던 金系 高麗鏡의 한계를 극복해 줄 것이며, 남한지역의 고려 고분에서도 金系 高麗鏡이 출토되어 미흡하나마 국내 소비양상을 정리해 볼 수 있게 되었다. 이와 같은 고찰은 宋, 遼, 元에 비해 그간 조명되지 못했던 고려의 對金交涉 뿐 아니라 鏡背에 새겨진 다채로운 金系 문양을 통해 당시의 시대미감, 유통 상황을 엿볼 수 있으며, 양식적인 특징을 통해 고려를 대표하는 龍樹殿閣紋鏡과 日月煌丕昌天銘鏡의 제작시기를 검토할 수 있을 것이다.
地名이 銘文으로 남아있는 金鏡을 확인해본 결과, 黑龍江에서부터 山西에 이르기까지 다양한 곳에서 검증을 받아 고려에 전래된 것임을 알 수 있다. 이 중에서도 중국 吉林, 遼寧, 天津市와 같이 고려와 지리적으로 가까운 곳에서 유입된 금경이 대부분을 차지하였는데 이들 지역은 양국의 公․私貿易이 활발했던 곳으로 압록강의 義州와 靜州를 거치는 西北路를 통해 유입되었을 것이라 생각한다. 또한 黑龍江, 吉林과 같은 동북지역에서 검증받은 금경의 경우, 양국의 교역이 이루어졌던 동해안 인근의 함경남도 定平과 靑州의 東北路를 통해 교역되었을 가능성도 배제할 수 없을 것이다.
이렇게 수용된 금경들은 지명의 연혁을 통해 최소 1153년 이후 전래되기 시작해 1193년을 전후한 시기까지 고려에 전래된 것을 알 수 있었으며, 이 시기는 문헌을 통해 양국의 교류가 가장 활발했던 毅宗, 明宗年間(1146～1197)에 해당되는 시기이다. 따라서 고려에 전래된 금경 역시 12세기 중반 이후부터 유입되기 시작해 후반으로 갈수록 더욱 활발히 유통되었던 것으로 판단된다.
고려에 수용된 금경에는 金의 官匠에 의해 제작 또는 관리되어 제작수준이 높은 銅鏡에서부터 민간에서 再鑄造된 粗質의 銅鏡까지 다양하다. 이 중에는 人物․故事紋鏡, 童子遊戱紋鏡, 倣古鏡과 같이 대표적인 문양의 금경도 있지만 遼․宋系 양식도 포함되어 있다. 특히 후자의 경우는 高麗鏡 속에 포함된 遼, 宋系 양식이 金을 거쳐 유입된 경우로서 외래문화가 다양한 경로를 통해 고려에 수용될 수 있었던 당시의 상황을 보여준다.
이와 같이 전래된 金鏡과 개성부근을 중심으로 출토된 다채로운 金系 高麗鏡은 宋 이전부터 있어왔던 전통적인 양식에서 벗어나 폭포, 누각과 같은 회화적인 소재와 공간감을 느낄 수 있는 화면구도를 적극적으로 활용한 새로운 양식을 살필 수 있다. 이러한 회화적인 공예의장은 神仙, 道家的인 題材의 人物․故事紋鏡에서 주로 볼 수 있는데 이는 자연을 벗 삼아 隱者로 살고자 했던 문인의 이상향과 일치하여 개성 인근에 거주하였던 부유한 남성계층에 의해 소비되었을 가능성이 높다. 마치 회화를 소장하였던 것처럼 문인의 감상기로 때로는 벽사적인 기능을 지닌 기물로 사용되었던 것이다. 또한 당시의 시대사조와 어울리는 소비기호로서 神仙, 道家的인 제재의 金系 양식이 고려에 활발히 수용되어 성행할 수 있었던 배경이 되어주었다.
金系 高麗鏡의 유통과 편년은 크게 두 시기로 분류해볼 수 있다. 1期(12세기 중반～13세기 전반)는 양국의 활발한 교역을 통해 金系 양식이 적극적으로 수용 및 확산되었던 시기로 故事紋鏡, 仙人龜鶴紋鏡, 倣古鏡, 童子遊戱紋鏡, 煌丕昌天銘鏡 등과 같은 대표적인 金系 高麗鏡이 제작되고 유통되었던 시기이다. 이러한 독자적인 金鏡이 金 熙宗(1135～1149) 때부터 서서히 제작되기 시작해 태평성대라 할 수 있는 大定年間(1161～1189)에 풍성하게 꽃피웠던 金鏡의 흐름을 고려해 보아도 시기적으로 일치하는 것이다. 또한 고려를 대표하는 龍樹殿閣紋鏡과 日月煌丕昌天銘鏡 역시 출토정황과 양식분석을 통해 金系 의장에 익숙했던 고려의 장인이 새롭게 해석해 만든 高麗鏡으로 1期에 제작되었을 가능성이 높고, 동일한 의장을 살필 수 있는 다른 공예품들 역시 金과의 영향 속에 제작되어 같은 시기로 볼 수 있을 것이다.
2期(13세기 중반～14세기)는 元과의 영향 속에 金系 양식이 지속되었던 시기로써 남한지역의 고려고분에서 출토된 高麗鏡을 통해 확인할 수 있다. 1期의 金系 양식이 그대로 사용되거나 새로운 기형 또는 문양의 일부를 변화시킨 銅鏡들이 제작되고 소비되었던 것이다. 이와 같은 양상은 高麗 뿐 아니라 元鏡과 동일한 경향으로 金系 양식이 쇠퇴해가는 과정을 보여준다. 이 시기의 金系 高麗鏡에는 倣古鏡이 상당 부분을 차지하는데 이는 1期부터 金과의 교역에 적극적이었던 고려가 金朝의 銅禁政策을 이용해 倣古鏡을 비롯한 粗質의 銅鏡을 교역품의 하나로 활용하였던 정황이 반영된 것으로 해석할 수 있다.

목차 (Table of Contents)

• 머리말 = 1
• Ⅰ. 高麗와 金의 文物交涉 = 5
• 1. 高麗와 金의 公 · 私貿易 = 5
• 2. 交通路 = 12
• Ⅱ. 명문경으로 본 金系 高麗鏡의 수용 양상 = 16
• 1. 금경의 성격 = 16
• 2. 금계 고려경의 수용 경로와 시기 = 20
• Ⅲ. 金系 高麗鏡의 문양별 種類과 特徵 = 33
• 1. 人物殿閣紋鏡 = 33
• 2. 童子遊戱紋鏡 = 44
• 3. 煌丕昌天銘紋鏡 = 47
• 4. 倣古鏡 = 50
• Ⅳ. 金系 高麗鏡의 流通과 編年 = 58
• 1. 1期: 수용.확산기 (12세기 중반～13세기 전반) = 58
• 2. 2期: 쇠퇴기(13세기 후반～14세기) = 63
• 맺음말 = 72
• 參考文獻 = 75
• (附錄1) = 87
• (附錄2) = 90
• 表目錄 = 95
• 揷圖目錄 = 96
• 圖版目錄 = 98
• 圖版 = 104
• Abstract = 132