지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
‘Inbo(印譜)’ means a book compiling Inyeong, and it is an important material in the study of a seal. It is commonly called an 'Injon(印存)’ or there are other various names such as ‘Injip (印集)’, ‘Inheui(印匯)’, and ‘Insu(印藪)’. It has mainly been handed down in the form of a book, but sometimes, it was manufactured as a folding screen or a leaf of a book. Inbo began to be manufactured as a seal was treated as an independent artistic field or scientific area by passing the era when a seal was merely perceived as part of individual social status or paintings and writings. From this period, Inbo became subject to appreciation and collection because it was manufactured in a limited number by painters and literary men or hustlers. This trend appeared specifically during the later Joseon period in Korea.
This paper is basic research into Inbo during the Joseon period. First, the paper attempted to review the early shape of Chinese Inbo that influenced Korean Inbo and to describe the development process according to the passage of time. Furthermore, the paper intended to search for the point of time and the climate during which the manufacturing of Inbo was introduced to Joseon, and to reveal phenomena through remaining records and existing Inbo. Concerning the manufacturing pattern of Inbo during the Joseon period, it was first categorized into two parts, the Royal family and the private houses, and several types of representatively mentionable Inbo were analyzed.
The time Inbo was first manufactured in Korea has not been clearly discovered. However, it is supposed to be at least before the 17th century as demonstrated through a case in which Heo Gyun and Kim Sang Heon created Inbo titled 『Gunokcheop(群玉帖)』. Although the place where this Inbo is kept is not confirmed as of yet, it is confirmed as being inherited until that time because it was included in the Chaesuseomyeongmongnok of 『Geunyeokinsu(槿域印藪)』 edited by Oh Se Chang.
Given the literature records, the period when Inbo was introduced to Korea does not exceed at least the early 17th century. In 『Gyegokmanpil(谿谷漫筆)』 by Jangy, which is a record during the early period, some cases in which Inbo of North Song were introduced to Joseon have been delineated in relative detail. During this period, Old Inbo was introduced from Ching, and the history of a seal could be overviewed from the Jin period through this. In addition, Rangseongun Lee Wu was also confirmed to own Inbo in a Chinese version through the article title of Misu Heomok. Meanwhile, there are three bangs of Jang Seo In by Lee Myeong Hwan, a military official during the later Joseon period, in 『Jiphaseoleo Inbo(集何雪漁印譜)』 of Myeong Hajin, which implicates the personal Inbo in a Chinese version, which was introduced to this country around the 17th century.
Beginning in the 18th century, the Inbo of Ming and Ching was introduced through more various routes. Lee Deok Mu utilized 『Insu(印藪)』 by Go Jeong Deok of Ming and 『Jibgo Inbo (集古印譜)』 by Gam Yang of Ming as references in relation to Sung Confucianism, and also, asked for the preface of 『Haksandang Inbo(學山堂印譜)』 that he had owned, from Park Je Ga, whom he usually maintained deep social intercourses with. This demonstrates a case in which the character of the work containing not Goin(old seal) but a carved seal of a seal engraver was introduced to this country. On the other hand, Kim Jeong Hee was so erudite in this field that he knew even the trend of engraving circles of the then Ching, in detail. Lee Deok Mu, Park Je Ga, and Kim Jeong Hee were all key figures of the Bukhak Movement throughout the King Yeongjo to the King Sunjo periods, and had exceptional interest in overall cultures including the literature and biblical studies of the Ching Dynasty. Their collection, preservation, and utilization of Inbo may reflect the stream that they tried to accept culture and art from Ching during the period of Bukhak.
This paper is basic research into Inbo during the Joseon period. First, the paper attempted to review the early shape of Chinese Inbo that influenced Korean Inbo and to describe the development process according to the passage of time. Furthermore, the paper intended to search for the point of time and the climate during which the manufacturing of Inbo was introduced to Joseon, and to reveal phenomena through remaining records and existing Inbo. Concerning the manufacturing pattern of Inbo during the Joseon period, it was first categorized into two parts, the Royal family and the private houses, and several types of representatively mentionable Inbo were analyzed.
The time Inbo was first manufactured in Korea has not been clearly discovered. However, it is supposed to be at least before the 17th century as demonstrated through a case in which Heo Gyun and Kim Sang Heon created Inbo titled 『Gunokcheop(群玉帖)』. Although the place where this Inbo is kept is not confirmed as of yet, it is confirmed as being inherited until that time because it was included in the Chaesuseomyeongmongnok of 『Geunyeokinsu(槿域印藪)』 edited by Oh Se Chang.
Given the literature records, the period when Inbo was introduced to Korea does not exceed at least the early 17th century. In 『Gyegokmanpil(谿谷漫筆)』 by Jangy, which is a record during the early period, some cases in which Inbo of North Song were introduced to Joseon have been delineated in relative detail. During this period, Old Inbo was introduced from Ching, and the history of a seal could be overviewed from the Jin period through this. In addition, Rangseongun Lee Wu was also confirmed to own Inbo in a Chinese version through the article title of Misu Heomok. Meanwhile, there are three bangs of Jang Seo In by Lee Myeong Hwan, a military official during the later Joseon period, in 『Jiphaseoleo Inbo(集何雪漁印譜)』 of Myeong Hajin, which implicates the personal Inbo in a Chinese version, which was introduced to this country around the 17th century.
Beginning in the 18th century, the Inbo of Ming and Ching was introduced through more various routes. Lee Deok Mu utilized 『Insu(印藪)』 by Go Jeong Deok of Ming and 『Jibgo Inbo (集古印譜)』 by Gam Yang of Ming as references in relation to Sung Confucianism, and also, asked for the preface of 『Haksandang Inbo(學山堂印譜)』 that he had owned, from Park Je Ga, whom he usually maintained deep social intercourses with. This demonstrates a case in which the character of the work containing not Goin(old seal) but a carved seal of a seal engraver was introduced to this country. On the other hand, Kim Jeong Hee was so erudite in this field that he knew even the trend of engraving circles of the then Ching, in detail. Lee Deok Mu, Park Je Ga, and Kim Jeong Hee were all key figures of the Bukhak Movement throughout the King Yeongjo to the King Sunjo periods, and had exceptional interest in overall cultures including the literature and biblical studies of the Ching Dynasty. Their collection, preservation, and utilization of Inbo may reflect the stream that they tried to accept culture and art from Ching during the period of Bukhak.
목차
Ⅰ. 서론
Ⅱ. 중국 印譜의 起源과 展開
Ⅲ. 조선으로의 流入과 收藏
Ⅳ. 조선후기 인보의 제작양상
Ⅴ. 결론
Abstract
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