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대한제국기 宮中宴享用가구는 궁중 연향에서 황제를 상징하거나 황제와 관련한 기물을 놓아 특수 한 용도로 사용되었던 가구를 가리킨다. 궁중 연향용 가구의 양식적인 특징은 연향의 전모를 기록 한『進宴儀軌』,『 進饌儀軌』의관련기록및도설을통하여파악할수있다. 궁중연향용가구는조선 초기부터『國朝五禮儀』에 의하여 제작규범이 제시되었고, 의례가 있을 때마다 의궤를 제작하여 그 에 맞게 가구의 형식이 변용되지 않도록 정해진 규범에 맞추어 제작되었다. 특히 대한제국기에는 축소되었던 왕실의례의 회복과 왕실의 권한 강화 그리고 황제의 위상을 높이기 위한 고종의 노력으 로 연향이 성행하여 연향 관련 의궤가 활발히 간행되었다. 대한제국기 연향 관련 의궤를 통한 연구는 연향용 가구를 제작한 장인 조직의 체제를 파악하 게 해주며 그 내용은「賞典」條에 기록되어 있다. 이를 통해 궁중 연향용 가구의 제작을 담당했던 小 木匠, 漆匠, 假漆匠, 彫刻匠, 豆錫匠등이 가구 제작에 참여한 날수에 따라 1등급에서 3등급까지 등 급이 매겨져 연향을 총괄했던 진연청 및 진찬소로부터 차등적으로 포상을 받았음을 알 수 있었다. 궁중 연향용 가구의 조형은 의궤의 도설을 기초로 쓰임에 따라 床卓, 坐具, 燈火具로 구분하여 양식 적인 특징을 살펴보았다. 대한제국기 궁중 연향용 가구는 대한제국기를 기점으로 가구의 색상이 조 선시대의 朱漆과 黑漆에서 黃漆과 朱漆로 변화하고 황제의 위엄을 상징하고 안녕을 기원하는 문양 을 시문하여 실용을 강조하기보다 황제와 궁중행사의 권위를 상징하는 데 중점을 두어 제작되었으 며 이것은 대한제국기라는 특수한 시대상이 반영된 특징이었다. 요컨대 대한제국기에는 덕수궁이나 창덕궁의 전각 내에서 프랑스에서 수입한 가구를 사용할 만 큼 황실에서부터 외국의 문물을 활발히 도입했던 혁신적인 시대였으나 궁중 의례용 가구의 경우에는 조선 전기부터 확립된 일정한 규범에 따라 보수적으로 제작되었다. 그것은 선진 문물을 도입하여 부 국강병에 힘쓰고자 하였던 반면 내부적으로는 전통적인 왕실의 의례를 회복하여 황실의 권한을 바로 세우고자 노력하고 선왕들이 유지해 온 궁중의례의 전통을 존중하고자 했던 고종 황제의 노력이 있었 기 때문이었다. 또한 대한제국기 궁중 연향용 가구는 대상 시기가 약 10년간으로 짧고 현존하는 가구 의 수가 많지 않아 양식적인 특징을 구체적으로 규명하는 데에는 무리가 있었다. 그러나 궁중 연향에 관한방대한내용을기록한『進宴儀軌』,『 進饌儀軌』를분석하여가구의사용, 가구제작을담당했던 관아, 가구 제작에 참여했던 장인의 체제를 파악하고, 의궤의 도설을 시기적 흐름에 따라 분석하고 현 존하는 유물을 대입하여 양식적인 특징의 일면을 살필 수 있었다는 점에서 본 연구의 의의를 둔다.


During the Korean Empire period, special kinds of furniture were used for court banquets. These pieces of furniture either symbolized the emperor and his imperial authority or served to place personal items belonging to the emperor. The appearance, stylistic characteristics and use of furniture of this type are detailed in chronicles documenting royal protocols such as Jinyeon Uigwe or Jinchan Uigwe, and illustrations contained within them. Guidelines on the fabrication of royal court banquet furniture had been set forth since the early Joseon Dynasty, in Gukjo Oryeui (Five National Rites). At each banquet, an uigwe, the document recording proceedings of a royal court event, was drawn up, as well as details of preparations. These uigwe records, maintained consistently over centuries, helped ensure that royal banquet furniture was fabricated according to the same specifications throughout the dynasty. During the Korean Empire period, there was a sharp increase in the frequency of festive and ceremonial events hosted in the royal court, which was due in part to Gojong’s desire to strengthen the prestige of the royal house and affirm the authority of his self-proclaimed position as the emperor. As a result, the production of uigwe commensurately increased as well during this period. Uigwe records notably contain information on groups of artisans enlisted to fabricate banquet furniture for the royal court, in the section‘Sangjeon (Reward Rules)’. Artisans who participated in the fabrication of royal court banquet furniture, such as cabinet makers, carpenters, lacquer artisans, furniture priming painters, furniture sculptors and metal accessory artisans were assigned a grade between 1 and 3, and were accordingly rewarded by Jinyeoncheong and Jinchanso, the two royal agencies in charge of organizing court events. Once into the Korean Empire period, the colors of the banquet furniture changed from red and black to yellow and red. This was also accompanied by noticeable changes in decorative motifs. Practical aspects of furniture were largely sacrificed in favor of splendor and stateliness, with ornamentation now tending toward underlining the grandeur of the emperor and the imperial house. The Korean Empire was an era that saw a lively exchange between the imperial house and the outside world, as attested to by furniture imported from France seen in Deoksugung and Changdeokgung Palaces. Foreign influences, however, were kept at bay concerning court banquet furniture, which was fabricated according to the same old specifications established during the early Joseon Dynasty. This is in large part owing to the fact that Gojong saw the integrity of the tradition of Joseon’s royal house as essential to the goal of strengthening his prestige as the ruler. Given the meager quantity of surviving royal banquet furniture produced during this relative short period of ten years, reconstructing facts about them was not an easy task. This study presents information gleaned from uigwe records from the Korean Empire period, about how furniture of this type was used, the court agencies in charge of supplying it, and the organization of artisans enlisted in its manufacture. Meanwhile, illustrations contained in uigwe were compared with surviving pieces of furniture to understand the stylistic characteristics of banquet furniture from this era.


During the Korean Empire period, special kinds of furniture were used for court banquets. These pieces of furniture either symbolized the emperor and his imperial authority or served to place personal items belonging to the emperor. The appearance, stylistic characteristics and use of furniture of this type are detailed in chronicles documenting royal protocols such as Jinyeon Uigwe or Jinchan Uigwe, and illustrations contained within them. Guidelines on the fabrication of royal court banquet furniture had been set forth since the early Joseon Dynasty, in Gukjo Oryeui (Five National Rites). At each banquet, an uigwe, the document recording proceedings of a royal court event, was drawn up, as well as details of preparations. These uigwe records, maintained consistently over centuries, helped ensure that royal banquet furniture was fabricated according to the same specifications throughout the dynasty. During the Korean Empire period, there was a sharp increase in the frequency of festive and ceremonial events hosted in the royal court, which was due in part to Gojong’s desire to strengthen the prestige of the royal house and affirm the authority of his self-proclaimed position as the emperor. As a result, the production of uigwe commensurately increased as well during this period. Uigwe records notably contain information on groups of artisans enlisted to fabricate banquet furniture for the royal court, in the section‘Sangjeon (Reward Rules)’. Artisans who participated in the fabrication of royal court banquet furniture, such as cabinet makers, carpenters, lacquer artisans, furniture priming painters, furniture sculptors and metal accessory artisans were assigned a grade between 1 and 3, and were accordingly rewarded by Jinyeoncheong and Jinchanso, the two royal agencies in charge of organizing court events. Once into the Korean Empire period, the colors of the banquet furniture changed from red and black to yellow and red. This was also accompanied by noticeable changes in decorative motifs. Practical aspects of furniture were largely sacrificed in favor of splendor and stateliness, with ornamentation now tending toward underlining the grandeur of the emperor and the imperial house. The Korean Empire was an era that saw a lively exchange between the imperial house and the outside world, as attested to by furniture imported from France seen in Deoksugung and Changdeokgung Palaces. Foreign influences, however, were kept at bay concerning court banquet furniture, which was fabricated according to the same old specifications established during the early Joseon Dynasty. This is in large part owing to the fact that Gojong saw the integrity of the tradition of Joseon’s royal house as essential to the goal of strengthening his prestige as the ruler. Given the meager quantity of surviving royal banquet furniture produced during this relative short period of ten years, reconstructing facts about them was not an easy task. This study presents information gleaned from uigwe records from the Korean Empire period, about how furniture of this type was used, the court agencies in charge of supplying it, and the organization of artisans enlisted in its manufacture. Meanwhile, illustrations contained in uigwe were compared with surviving pieces of furniture to understand the stylistic characteristics of banquet furniture from this era.