<權大運耆老宴會圖>를 통해 본 南人의 復興과 衰落 - 서울대학교 소장본과 국립중앙박물관 소장본의 비교를 바탕으로 -

A Study of <KwonDae-UnGiroyeonhoedo(權大運耆老宴會圖)> on the Revival and Decline of Namin(南人) Research composed on the Comparison of Collection in Seoul National University Museum to the Collection in National Museum of Korea

서울대학교 박물관과 국립중앙박물관에는 숙종연간(肅宗年間, 1674-1720) 남인(南人)의 수장이었던 권대운(權大運, 1612-1699)의 남산 사가에서 행해진 연회를 기록한 <권대운기로연회도(權大運耆老宴會圖)>가 남아있다. 서울대학교 소장본은 8폭의 병풍이며, 국립중앙박물관 소장본은 2폭만 남아있다. 두 그림은 인물의 위치, 기물, 나무의 표현 등에 있어 매우 유사하지만, 기물과 인물의 세부 표현을 보아 제작시기가 다른 것으로 추정된다. 그러나 이제까지 두 그림을 비교&#8901;분석한 연구는 없었다. 이에 본고에서는 기존에 1689년으로 비정되었던 서울대학교 소장품을 서문과 좌목을 통해 1690년에 제작된 것으로 추정하였다. 연회 개최 배경은 1690년에 장희빈이 왕비에 즉위된 것을 축하하기 위함이자, 곧 남인이 환국 이후 정권을 다시 잡아 부흥(復興)한 것을 상징하는 것으로 보았다. 한편 국립중앙박물관 소장본은 기물과 인물의 표현을 분석한 결과 18세기 중반 이후 제작된 것으로 편년하였다. 서울대학교 소장본과 달리 국립중앙박물관 소장본에는 구장(鳩杖)이 그려지지 않았는데, 이를 구장의 상징적 의미와, 당시 권대운 가문의 정치적 상황을 바탕으로 살펴보았다. 그 결과 같은 주제 및 내용이 담긴 그림이지만, 서울대학교 소장본과 달리 국립중앙박물관 소장본은 권대운 가문이 쇠락(衰落)한 상황을 그리고 있음을 추정해 보았다.

This thesis studies the <KwonDae-UnGiroyeonhoedo(權大運耆老宴會圖)> at the Seoul National University Museum and the National Museum of Korea. KwonDae-Un(權大運), the main character of the banquet in the painting, is the head of the Namin(南人) during the year of King Sukjong(肅宗). As known, The political power struggle was fierce between Namin and Seoin(西人) during the King Sukjong reign. Previously, it was thought that the banquet was held in 1689 on the basis of KwonDae-Un’s Guejang (&#20960;杖), but analysis of the painting s preface and entry clearly showed that it held between October 11, 1690 to November 18, 1690. According to the analysis of “Sukjong Sillok(『肅宗實錄』)”, JangHee-bin(張禧嬪), a key figure in the Namin, was crowned as the queen on October 22, 1690. The banquet can be seen as a celebration of Jang Hee-bin became a queen and, in turn, of the political revival of the Namin. Seoul National University s museum collection and the National Museum of Korea are nearly the same, but there are differences in the expression and characteristic of the figure. Nevertheless, no thesis has been properly compared and reviewed for the two paintings. Through the differences between the expression and the object, This thesis suggest that <KwonDae-UnGiroyeonhoedo> at National Museum of Korea was painted in the mid-18th century, later than the <KwonDae-UnGiroyeonhoedo> at Seoul National Museum of Korea. And it is presumed that the <KwonDae-UnGiroyeonhoedo> at National Museum of Korea is a copy of the <KwonDae-UnGiroyeonhoedo> at Seoul National Museum of Korea. Meanwhile, A question has been raised about the fact that there are no Gujang(鳩杖) in the <KwonDae-UnGiroyeonhoedo> at National Museum of Korea. The Gujang was part of the Guejang(&#20960;杖), and it was the highest honor for a servant to be given the decoration. KwonDae-Un s unique pride in receiving the decoration is also seen in his portrait. Under these circumstances, the failure to draw the Gujang in the paint of mid-18th century was apparently a special problem. In fact, the 18th-century KwonDae-Un’s family saw the decline due to the Change of government in the year of Gapssull(甲戌換局) and rebellion of LeeIn-jwa(李麟佐). So It is assumed that the honorable Gujang could not have been painted. As a result, the <KwonDae-UnGiroyeonhoedo> at 1690 showed a political revival of KwonDae-Un and the Namin, on the other hand, the <KwonDae-UnGiroyeonhoedo> at the mid-18th-century showed a political decline of the Namin.