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This paper aims to study the term, use and mode of a Five peaks screen(五峯屛), which is one of the decorative court painting in the category of art history Five peaks screen refers to Five peaks painting drawn on the medium of a folding screen. Five peaks painting designates a painting, which is composed of various motifs such as the sun, the moon, five peaks, waves and pine trees.
This Five peaks screen was generally placed behind the throne in Chosen dynasty. Nonetheless, it should not be overlooked that Five peaks screen was employed for a variety of use at Court in Chosen dynasty
In brief, the Five peaks screen was not only placed behind the throne but also used for 凶禮 and a course for copying the painting of royal portraits.
In this paper, I want to research about the Five peaks screen by examining the record of 凶禮都監儀軌(which means formality manual from the office in charge of the funeral rites) of Chosen dynasty, which was neglected in the existing studies.
Since Chosen dynasty, the Five peaks screen has been calling in various terms so far. Though those terms were named after one related to icons, 'Five peaks screen' or 'Five peaks mountain screen' was recorded in a large number of Court documents and of 凶禮都監儀軌 in Chosen dynasty. It is considered that among the icons consisting of the Five peaks screen, Five peaks were more focused than the sun and the moon. It can be inferred form the fact that the icons of the sun and the moon were omitted in the canopy-Five peaks screen of 魂殿.
In fact, instead of the sun and the moon, the painting of a sun-moon mirror was placed on the canopy-Five peaks screen. It is considered that the basis of such the sun-moon mirror was originated from 『Bao Pu Zi』 of Taoism. It is not clear, however, that how the original figure of the sun-moon mirror looked like due to the absence of a relic related to the term of the mirror or an explanatory diagram about the mirror.
However, use of this mirror came to stop after King Youngjo period (1724-1776). Instead, it began to paint the sun and the moon using gold and silver dei right on the screen. It is believed that this way came to continue until the middle of the nineteenth century and since then the sun and the moon as the feature of the current Five peaks screen has been painted with red and white colors.
Also, the screen was surely necessary for 凶禮儀式. The screen began to be used in 魂殿 and then 殯殿 and 山陵 as time went by. It shows that use of the screen during Chosen dynasty came to expand.
Among the rest, the first document of historical materials was a Five peaks screen installed in 魂殿's canopy. 魂殿 was the place where king's ancestral tablets were put in for 3 years. Inside this Honjeon, the canopy was arranged to put the ancestral tablets and the screen comes to be placed inside canopy. Like this, 魂殿's canopy Five peaks screen became remained until the end of Chosen dynasty.
On the other hand, the materials used for making the Five peaks screen were recorded in 凶禮都監儀軌 thoroughly. Especially the materials for 魂殿's canopy a Five peaks screen were recorded more thoroughly. It benefits to examine the chronological changes of the materials used for the Five peaks screen then. Therefore, I studied those materials shown 『[仁祖]殯殿都監儀軌』(1649), 『[正宗大王]殯殿魂殿都監儀軌(1800) and 『[仁祖]殯殿都監儀軌』(1895), among 凶禮都監儀軌.
If colored pigments are examined, it is assumed that gold and silver dei was employed for the five-peaks-screen, which was used for 魂殿 during King Injo period, and has splendid feature. This mode was conveyed to 魂殿 during King Jungjo period.
From the middle of the nineteenth century, however, use of silver dei disappeared and only gold die was employed. Through this fact, it can be inferred that the existing Eve peaks screen were mostly created after the nineteenth century.
In addition, the end of the nineteenth century, use of cobalt blue and emerald green, which was not recorded in the previous 儀軌, appeared. It shows that coloring of the Eve peaks screen became more abstract radically from the nineteenth century to the twentieth century. Next, I examined the classification of mode for the Eve peaks screen and learned that the screen can be classified into three modes largely. Firstly, it is a category of being formalization and complanation, secondly, a category of being natural, and lastly a category included in none of the two.
This Five peaks screen was generally placed behind the throne in Chosen dynasty. Nonetheless, it should not be overlooked that Five peaks screen was employed for a variety of use at Court in Chosen dynasty
In brief, the Five peaks screen was not only placed behind the throne but also used for 凶禮 and a course for copying the painting of royal portraits.
In this paper, I want to research about the Five peaks screen by examining the record of 凶禮都監儀軌(which means formality manual from the office in charge of the funeral rites) of Chosen dynasty, which was neglected in the existing studies.
Since Chosen dynasty, the Five peaks screen has been calling in various terms so far. Though those terms were named after one related to icons, 'Five peaks screen' or 'Five peaks mountain screen' was recorded in a large number of Court documents and of 凶禮都監儀軌 in Chosen dynasty. It is considered that among the icons consisting of the Five peaks screen, Five peaks were more focused than the sun and the moon. It can be inferred form the fact that the icons of the sun and the moon were omitted in the canopy-Five peaks screen of 魂殿.
In fact, instead of the sun and the moon, the painting of a sun-moon mirror was placed on the canopy-Five peaks screen. It is considered that the basis of such the sun-moon mirror was originated from 『Bao Pu Zi』 of Taoism. It is not clear, however, that how the original figure of the sun-moon mirror looked like due to the absence of a relic related to the term of the mirror or an explanatory diagram about the mirror.
However, use of this mirror came to stop after King Youngjo period (1724-1776). Instead, it began to paint the sun and the moon using gold and silver dei right on the screen. It is believed that this way came to continue until the middle of the nineteenth century and since then the sun and the moon as the feature of the current Five peaks screen has been painted with red and white colors.
Also, the screen was surely necessary for 凶禮儀式. The screen began to be used in 魂殿 and then 殯殿 and 山陵 as time went by. It shows that use of the screen during Chosen dynasty came to expand.
Among the rest, the first document of historical materials was a Five peaks screen installed in 魂殿's canopy. 魂殿 was the place where king's ancestral tablets were put in for 3 years. Inside this Honjeon, the canopy was arranged to put the ancestral tablets and the screen comes to be placed inside canopy. Like this, 魂殿's canopy Five peaks screen became remained until the end of Chosen dynasty.
On the other hand, the materials used for making the Five peaks screen were recorded in 凶禮都監儀軌 thoroughly. Especially the materials for 魂殿's canopy a Five peaks screen were recorded more thoroughly. It benefits to examine the chronological changes of the materials used for the Five peaks screen then. Therefore, I studied those materials shown 『[仁祖]殯殿都監儀軌』(1649), 『[正宗大王]殯殿魂殿都監儀軌(1800) and 『[仁祖]殯殿都監儀軌』(1895), among 凶禮都監儀軌.
If colored pigments are examined, it is assumed that gold and silver dei was employed for the five-peaks-screen, which was used for 魂殿 during King Injo period, and has splendid feature. This mode was conveyed to 魂殿 during King Jungjo period.
From the middle of the nineteenth century, however, use of silver dei disappeared and only gold die was employed. Through this fact, it can be inferred that the existing Eve peaks screen were mostly created after the nineteenth century.
In addition, the end of the nineteenth century, use of cobalt blue and emerald green, which was not recorded in the previous 儀軌, appeared. It shows that coloring of the Eve peaks screen became more abstract radically from the nineteenth century to the twentieth century. Next, I examined the classification of mode for the Eve peaks screen and learned that the screen can be classified into three modes largely. Firstly, it is a category of being formalization and complanation, secondly, a category of being natural, and lastly a category included in none of the two.
목차
Ⅰ. 오봉병의 명칭
Ⅱ. 흉례용 오봉병의 도상
Ⅲ. 흉례용 오봉병의 용도와 제작
[부록]
참고문헌
ABSTRACT
참고문헌 (33)
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