『악학궤범』에 나타난 직물연구

A Study of the Textiles Discussed in Akhakgwebeom

Akhakgwebeom is consisted of three volumes and divided into nine parts overall. It is a general music treatise that includes the theories related to the various musics used in banquets, morning ceremonies, and rituals. This paper examines and analyzes the characteristics of the textiles, printing and dyeing, and the pattern designs of the musical instruments, props, and costumes and their ornaments that appear in the Akhakgwebeom. Silk was used for most of the musical instruments, props, and costumes. Other kinds of textiles used were hemp and ramie, cotton, leather, and felt. The kinds of silk textile used were as follows: joo and geun (which are kinds of tabby silk), cho (thin tabby silk), saengcho (raw thin tabby silk), chi (black-colored tabby silk), baek (tabby silk), ra (complex gauze), sa (simple gauze), neung (twill silk), dan (satin silk), and jikgeum (weave with supplementary gold wefts). The kinds of cotton used were cotton cloth and wood; depending on dyeing, there are various colors of cotton cloth such as black, green, brown, red, and blue. The kinds of hemp were various as well which were as follows: po (linen), sepo (linen weaved with fine threads), baekpo (white linen), cheongpo (blue linen), saengpo (raw linen), hwangpo (brown linen), and chilpo (lacquered linen). The types of ramie included sejeopo (ramie linen weaved with fine threads), hongjeo (red ramie), baekjeopo (white ramie linen), and heukjeopo (black ramie linen). Leather used were from various animals such as the cow, horse, deer, marten, bear, and fish. Various types of leather were dyed in white, black, blue, purple, red, green, and red. Felt was made of sheep s wool. The types of strings used for making tassels, knots, cords, and the strings of musical instruments were jinsa (silk yarn), saengsa (low silk yarn), mongmyeonsa (cotton yarn), geumsa (gold thread), and eunsa (silver thread). The techniques for creating patterns, which appear in Akhakgwebeom, were weaving, painting and block printing, and embroidery. However, except for only two cases in which weaving and embroidery were each used for creating patterns, the rest of the patterns were block-printed or painted with colored pigments. Often, the patterns were painted with gold; otherwise, gold sticking was used. It is assumed that painting and block printing were used more often than embroidery or weaving with a pattern loom because the former were much more convenient and easier to express the proper patterns than the latter. Since the textiles discussed in Akhakgwebeom were used for court performances and banquets, it is assumed that the brilliance of the patterns was maximized by the use of gold stamp and various colors. Moreover, dodaik refers to the gold foil patterns printed or painted with gold or jahwang, whose color is similar to gold; it was used both on costumes and embellishments. Among the patterns on the props, musical instruments, and costumes, patterns expressed for mere embellishment included vine and flower, plucked flower, small flower, peony, lotus, poems, geum pattern, and young phoenix. Symbolic patterns included imaginary animals such as dragon, red phoenix, white tiger, blue dragon, yellow dragon, and phoenix. The patterns made to imitate and express the skins of real animals and material included banjangpimun (deer), pyopibanmun (leopard), gammun (the pattern of armor), and gongjakmimun (the tail of peacock). The structural style of the patterns characterizes those of the late Goryeo period and the early Joseon period. In particular, the geum pattern--originated from lampas with latticework of the Song period of China--drawn on the bigu of the cheoyong costume was rarely used in Korea s textile pattern. Akhakgwebeom is invaluable in two aspects: first, it