임경업(林慶業)에 대한 기억 －계급 간 표상(表象)을 중심으로－ (The Memories of Im Gyeongeop - Focusing on Representation of Class -)

서지정보

· 발행기관 : 성균관대학교 인문학연구원
· 수록지 정보 : 인문과학 / 90호 / 91 ~ 130페이지
· 저자명 : 박혜미

초록

본 연구는 임경업(林慶業)의 생애담을 재구성하는 매체들과 제작 및 소비 주체에 대하여 논한다. 본고에서는 임경업 생애담의 등장이 신원 이전이었다는 점과 문헌 기록을 근거로 임경업이 재구성되기 시작한 시점을신원 시점보다 앞선 시기라고 추정하였다. 또한 각 유형별 회화의 제작및 전래 시기, 양식과 기능을 분석하였다. 문학의 분류에 따라 제작주체를 추정 가능하듯이 회화 역시 양식을 통하여 짐작이 가능하다. 양반사대부와 국가가 제작에 관여했던 충민공 초상은 유교 제례를 목적으로 제작되고 기능하였다. 반면 임장군도는 민간에서 제작되어 무속 제의에 적극적으로 활용되었다는 차이가 있다. 이러한 측면에서 임경업 생애담의 다양한 양상들은 제작 계급의 가치관이 투영된 표상으로 이해되어야 할것이다.

영어초록

This study discusses the various media and the social class that reconstructed the life story of Im Gyeongeop. The life story of Im Gyeongeop was widely known in the form of documentaries and oral literature and it also influenced other stories like Tale of Lady Pak and Tale of Kim Yongchol. Both the ruling and governed classes tried to make the memory of Im Gyeongeop into narratives. Through this, Im Gyeongeop became the symbols of esteem in the Ming dynasty, a deity of general and croaker fishery. In addition, it was suggested that the creation of Im Gyeongeop's life story was made before the restoration of identity and that the time when Im Gyeongeop began to be remembered and reconstructed based on literary records was earlier than the restoration.
Im Gyeongeop is a figure painted in both portraits and shamanist paintings.
In this study, the paintings were divided into Portrait of Chungmingong and Painting of General Im to analyze the production period, style, and function of each paintings. Considering the relationship of the remaining portraits of Im Gyeongeop and the records of paintings, the fact that Im Gyeongeop was recognized by the Ming Dynasty requires reconsideration, and it is possible that it was intentionally reborn as a portrait style of a meritorious person. Just as the subject of production can be estimated to the classification of literature, paintings can also be guessed through style analysis. Portrait of Chungmingong, who was involved in the production from the ruling class to the state, was produced and functioned for the purpose of Confucian rituals. On the other hand, Painting of General Im was produced by the indigenous people and actively used for shamanist rituals.
In this way, during reconstruction, the production and consumption subject selects the type of medium and can access the subject again through the medium. Therefore, the various aspects of Im Gyeongeop's life story should be understood as a projection of the values of each social class.

참고자료

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