본 연구는 조선 후기 풍속도를 바탕으로 조선 후기전문 유랑 연희패들이 국가무형문화재로 지정된 남사당놀이 여섯 종목 형 성에 미친 영향을 살펴보았다. 연구 방법은 문헌 연구를 중심 으로 이루어졌으며, 연구 결과는 다음과 같다. 첫째, <기산풍속도>에서 꼭두각시놀음은 ‘박첨지 놀음’과 ‘산대패 노는 모양’으로 기록되어 있다. 이때, 꼭두는 후뇌를, 각 시는 어린 소녀를 의미한다. 남사당놀이에서는 꼭두각시놀음을 ‘덜미’라고 부르는데, 인형의 목 뒷덜미(후뇌)를 잡고 공연하는 특징이 반영된 용어이다. 둘째, 〈봉사도〉와 〈알성시은영연도〉에는 ‘땅재주’와 ‘대접 돌리기’가 한 무대에서 동시에 공연되는 모습이 담겨있다. 즉, 이 연희들은 민간 부분뿐만 아니라, 국가의 중요 행사에서 공 연되는 놀이로 대중들의 인기를 받는 것으로 보인다. 남사당놀 이에서 ‘땅재주’는 ‘살판’으로, ‘대접 돌리기’는 ‘버나’로 명칭 된 다. 셋째, 줄타기는 연희 전에 고사를 지내는 특징이 있다. <기 산풍속도>에서 줄꾼은 창배(倡俳) 혹은 창부(倡夫)로 기록되어 있다. 남사당놀이 줄타기는 줄꾼이 여성이라는 특징이 있다. 남 사당놀이에서는 줄타기를 ‘어름’이라고 한다. ‘줄-어름’이란 단 어에서 ‘줄’이 생략된 형태로, ‘어름’이란 ‘(줄을) 탄다’는 ‘보삭 (步索)’의 의미이다. 넷째, <기산풍속도>에는 ‘탈놀이’의 전체적인 연희 분위기와 각 탈의 특징을 확인할 수 있는 다양한 도상이 존재한다. ‘탈놀 이’는 야간에 공연되는 특징이 있다. 남사당놀이에서는 ‘탈놀이’ 를 ‘덧뵈기’라고 부르고 있으나, 1960년대는 ‘덧보기’로 지칭되어 있으며, 해학적이고 사회 풍자적인 내용으로 구성되어 있다. 다섯째, 풍물놀이는 농악과 관련 있는 부분이다. 조선 시대 ‘사당’은 여성, ‘거사’는 남성을 의미한다. <기산풍속도>의 화제를 통해서 보면, 사당패는 여성 중심의 연희패였으며, 이후 남 성 중심 연희패가 생기면서 남사당패가 형성된 것을 알 수 있 다. 또한, 풍물 연희 중에 하나로 펼쳐지는 ‘무동놀이’의 '무동' 의 의미는 어깨 위에 올라가서 연희를 하는 ‘무등’의 의미로 사 용되었다. 즉, 현재 국가무형문화재로 지정된 남사당놀이의 여 섯 종목은 다양한 19세기 유랑 연희집단이 해체되고 통합되는 과정에서 영향을 받아 형성된 것으로 볼 수 있다. 본 연구는 무형문화재로 등록된 남사당놀이 여섯 종목 형성 에 미친 조선 후기 다양한 연희패들의 영향력을 분석한 것으 로, 남사당놀이 여섯 종목의 의미 분석 및 복원을 위한 기초자 료로 활용되는 데 의의가 있다.

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun’s paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun- Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

This study intends to consider about the food culture during the latterly Chosun Dynasty through the genre paintings which are depicted realistically about the total food life figures for example not only the foods, but also that people who eat and drink the food and eating implements, eating methods. There are 9 pieces of works Kim hong-do's which are the best appraisal on the incorporated Korean emotion and on the real life of general public. Those are selected for this study's characteristics through the literature consideration. The characteristics of the tableware pottery and food culture are following things. The first is a white porcelain's development and popularization. In the latterly Chosun Dynasty period, the development of the agriculture and commerce made been connected to the affluent food cultures, these made increase the porcelain's use of upper classes and these made been connected to the development of the porcelain's cultures. The second is the development of various pottery with a dark brown glaze manufactures. The development of agriculture and economy power made bring the development of the kinds of sauces and Kimchi culture with an inflow of foreign crops and these made making the large an earthenware pot or jar which could store something during the long time. The third is the development of the small dining table on the eating the bread of idleness. In the Chosun dynasty period, the food style was been unified to he eating the bread of idleness and been lowered. These made developed of various small dining table through the underfloor heating system's generalization. The fourth is the development of the spoon with the soup culture. It is the East Asia called that the spoon culture boundary, this show the characteristic that we use the spoon mainly compare with another countries. Finally, it is universal use of the fixed quantitative implements. They could live quantitative life with the scales which are jar of soy sauce, liquor jug, jar, scoop leading a set of tableware.

This present study suggests a wider view of our ancestors' food culture by examining the generality and peculiarity of the food culture of the Chosun Period by associating the culture with genre paintings made in the 18th~19th century in Korea. People in the Chosun Period outwardly advocated the Confucian idea reflecting the life philosophy of Chinese. However, the vitality of common people's frank and simple lifestyles saturate genre paintings and display Korean food culture and sentiments of the age. Initially this paper examines the history of food sociology through Namjong literary artists' paintings. The meaning and philosophy of drinks are considered in relation to the trend of declining tea culture among scholars in the mid-Chosun Period with the policy of promoting Confucianism and oppressing Buddhism. Secondly, this paper investigates the background of genre paintings in the late Chosun Period, and examines the unique food culture of Koreans appearing in paintings, particularly with regard to the abundance and variety of seasoned vegetables appearing in genre paintings, our ancestors' sentiment appearing in milk-gathering painting, humanity in guest reception, food culture and view of nature in farm villages, fishing life history, food distribution culture, soybean-curd culture, etc.