朝鮮王朝實錄 所載 ｢巫山一段雲｣ 연구 = A Study of Musanildanun (巫山一段雲) in The Annals of the Joseon Dynasty (朝鮮王朝實錄)

국문 초록 (Abstract)

본 연구는 󰡔朝鮮王朝實錄󰡕에 수록된 宮中 宴享 계열의 詞牌 ｢巫山一段雲｣을 발굴ㆍ검토하여, 해당 詞牌의 受容 및 演行 樣相을 규명하고 그것이 지닌 정치적ㆍ문화적 기능을 고찰하는 데 목적이 있다.
중국 詞文學史에서 趙孟頫의 詞를 제외하면 ｢巫山一段雲｣이 聯章體 寫景詞로 활용된 사례를 찾아보기 어려우나, 高麗와 朝鮮에서는 이와 달리 聯章體 寫景詞의 대표적인 詞牌로 정착되었다. 따라서 선행 연구에는 대개 이러한 寫景的 성격에만 주목해 온 한계가 있다. 이에 본고는 󰡔朝鮮王朝實錄󰡕 및 관련 문헌 자료를 면밀히 분석함으로써, 朝鮮 前期 王室에서 연행된 ｢巫山一段雲｣이 단순한 소묘적 풍경사에 머무르지 않고 還宮 및 還京 과정에서 歌唱된 궁중 樂章이자 국가적 頌祝歌로 사용되었음을 규명하였다.
󰡔朝鮮王朝實錄󰡕에 확인되는 궁중 악장 계열의 ｢巫山一段雲｣은 世宗 때 3首, 端宗 때 1首, 世祖 때 7首, 成宗 때 6首 등 총 17首에 이른다. 작품들은 지방 순행, 온천 行幸, 종묘 제례, 親耕 의례, 불교 경찬 의례 등 다양한 국가 행사를 배경으로 연행되었으며, 행사 유형에 따라 작품의 내용과 정치적 강조점 또한 달라지는 양상을 보였다. 특히 成宗 24년(1493) 3월 10일의 행사에 사용된 ｢巫山一段雲｣은 본래 풍경 중심의 聯章體로 즐겨 사용되던 ｢巫山一段雲｣을 궁중 樂章의 聯章體 頌祝詞로 변용한 대표적 사례라 할 수 있다. 아울러 󰡔朝鮮王朝實錄󰡕에 실린 ｢巫山一段雲｣은 작품 전반에 걸쳐 다양한 典故와 정교한 對句를 활용함으로써, 궁정 樂章으로서 높은 문학적 완성도를 보여주고 있다는 점도 확인되었다.
결론적으로 朝鮮 전기의 ｢巫山一段雲｣은 환궁 의례의 핵심적 송축가로서 왕실의 권위를 재현하고 국가적 질서를 상징화하는 데 중추적 역할을 수행하였다. 나아가 다양한 계층이 함께 어울리는 궁중 공연 문화의 場 안에서 太平聖代와 與民同樂이라는 통치 이념을 시각적ㆍ청각적으로 구현한 매개체이자, 高麗와 朝鮮에 유입된 中國詞가 주체적인 변용 과정을 거쳐 독자적인 예술 양식으로 토착화되었음을 보여주는 핵심적인 실례이다.

다국어 초록 (Multilingual Abstract)

This study identifies and examines Musanildanun (巫山一段雲), a cipai (詞牌) associated with the court banquet repertory recorded in The Annals of the Joseon Dynasty. It aims to elucidate the reception and performance of this cipai and to explore its political and cultural functions.
In the history of Chinese ci literature, apart from the works of Zhao Mengfu (趙孟頫), Musanildanun was rarely employed for linked-sequence landscape ci. In Goryeo and Joseon, by contrast, it became established as a representative cipai for landscape compositions in linked-sequence form. Previous scholarship has therefore tended to focus almost exclusively on its landscape-oriented character. Through a close examination of The Annals of the Joseon Dynasty and related textual sources, this study demonstrates that the Musanildanun pieces performed at the early Joseon court were not merely descriptive landscape lyrics. They also functioned as court musical compositions (akjang, 樂章) and state-sponsored hymns of praise sung during royal returns to the palace (還宮) and to the capital (還京).
A total of seventeen Musanildanun pieces belonging to the court akjang tradition are found in The Annals of the Joseon Dynasty: three from the reign of King Sejong, one from that of King Danjong, seven from that of King Sejo, and six from that of King Seongjong. These pieces were performed in connection with a variety of state events, including royal progresses through provincial regions, royal visits to hot springs, ancestral rites at Jongmyo, royal plowing ceremonies, and Buddhist rites of celebration and praise. Their contents and political emphases varied according to the nature of the respective events. Of particular significance is the Musanildanun performed on March 10, 1493, the twenty-fourth year of King Seongjong’s reign. It represents a notable instance in which Musanildanun, traditionally favored as a linked sequence centered on landscape description, was transformed into a linked sequence of celebratory lyrics for court performance. The works recorded in The Annals of the Joseon Dynasty also display a high degree of literary accomplishment as court akjang through their extensive use of classical allusions and carefully constructed parallelism.
In conclusion, Musanildanun in the early Joseon period served as a principal hymn of praise in royal return rituals, playing a central role in representing royal authority and symbolizing the order of the state. Within the sphere of court performance, where participants from different social strata gathered together, it also served as a performative medium that visually and aurally embodied the governing ideals of a peaceful and flourishing reign and the ruler’s sharing of enjoyment with the people. Ultimately, Musanildanun constitutes a significant example of how Chinese ci introduced into Goryeo and Joseon underwent an autonomous process of transformation and became localized as a distinctive artistic form.