• Proceedings of the Plant Resources Society of Korea Conference
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• 2023.04a
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• pp.32-32
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• 2023

본 연구는 16세기 과거에서 낙방한 시권(試紙)인 낙폭지(落幅紙)가 어떻게 재활용되었는지에 대해 고 찰하는 것이 목적이다. 과거 시험 답안지는 시권, 시지(試紙), 명지(名紙), 과지(科紙)라 하였으며 두껍고 품질 좋은 종이가 사용되었다. 국가의 특별한 경사가 있거나 왕이 친림한 과거 시험의 경우 응시자에게 국가에서 시지를 제공하였으나, 그 외 3년마다 치르는 정기시험인 식년시(式年試)는 개인이 별도로 마련하였다. 전국 각 도와 한성부에서 치러졌던 초시(初試)를 비롯한 복시(覆試), 별시(別試), 증광시(增廣試), 춘당대시(春塘臺試) 등 과거 응시자의 수는 조선 후기로 갈수록 증가하였다. 이 때문에 시지 마련은 응시자 개인뿐 아니라 국가의 부담으로 작용하게 되었다. 조선시대 과거에 합격한 시지는 응시자에게 돌려주었으나 불합격한 시지의 경우는 돌려주지 않고 국가에서 재활용하였다. 낙폭지는 북방 군사들의 추위를 막는 방한용 의복인 지의(紙衣)로 사용되었으며, 화전(火箭), 가슴을 가리는 갑옷인 엄심갑(掩心甲), 비를 막는 장막용이나 우의(雨衣)로 사용되었다. 낙폭지는 건물 내부 도배 재료로 초배(初褙)에 이용되었으며, 그림이나 책의 배접용으로 활용되었다. 16세기 『묵재일기』에는 이문건이 32년간 성주 지방에서 유배 생활을 하며 인근 지역 관인(官人)과 지인들을 통해 주기적으로 낙폭지를 입수했던 기록을 살필 수 있다. 지방의 종이 제작 정도, 종이 수급 현황, 낙폭지 재활용에 대한 구체적인 양상을 통해 일상 속 종이 재활용 상황을 파악하는 단서를 제공하였다.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.100-121
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• 2023

This paper examines the interior settings of a chamber and of a temporary place of enshrinement at Yeonghuijeon (永禧殿, Hall of Eternal Happiness), the representative official portrait hall in which portraits of early and late Joseon kings were enshrined. Also, it discusses the features of the Five Peak screens used therein. The physical environment of a chamber at Yeonghuijeon mainly consisted of a four-panel folding screen with a painting of Five Peaks and a large wooden platform, which was adorned with dragon and lion patterns and attached to lotus-leaf column balustrades. The Five Peak screen was installed on a large platform in the shape of ⊓, spreading across the second and third panels on the back and folding out on the first and fourth panels on the right and left sides. When a portrait was enshrined in a temporary place, a simpler and smaller platform with railings was used. A four-panel folding screen of the Five Peak painting was installed in the same way as in a chamber, but was unfolded around a smaller platform behind it. A royal portrait was displayed in each chamber, whereas a case in which a portrait was rolled up was put on the smaller platform in a temporary place. The Five Peak screens for a chamber and a temporary place were all large four-panel folding screens with two wide panels in the middle and two narrow panels on each side, and only strips of silk were mounted on the four edges of the screens without additional wide lower-side mountings. While screens for the chamber used patterned silk for mounting and white paper for backing on screen frames, screens for the temporary place used plain silk and recycled failed test papers for mounting and backing, respectively. By examining records in the literature on the Five Peak screens for Yeonghuijeon, this paper highlights two Five Peak screens, both of which lost their provenance from the hall. The structures of the two screens reflected the way they were to be installed at the hall. Furthermore, this paper assumes that a Five Peak screen, which had been unfolded on the throne in the main hall of Changdeokgung Palace after the 1960s, was produced in 1858 for the purpose of temporarily enshrining King Sunjo's portrait due to the fact that failed test papers of the 1840s were laid taut over the frame.