• 한국의류산업학회지
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• 제17권1호
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• pp.64-73
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• 2015

This paper examines the characteristics of Hungarian women's costumes under the Reign of the Habsburg Empire in the $19^{th}$ Century. Since the beginning of the $19^{th}$ century, the Habsburg Empire inflicted strong oppression on Hungary. Under the influence of the European upper class, exaggerated and sumptuous costumes were fashionable in the Hungarian Aristocracy. They preferred blouses decorated with colorful embroidery, pleated sleeves, gorgeous beads and lace, long pleated skirts with velvet borders, corsets decorated with delicate embroidery, coats adorned with lace, and capes. However, Hungarian nationalists protested against the Habsburg Empire's oppression; consequently, Hungarian national costumes expressed a sense of resistance and solidarity. The results of the study are as follows. The Hungarian women's costumes were different from women's costumes of the Habsburg Empire in regards to headdress, bodice, apron, pattern and shoes. The Hungarian women's headdress consists of the parta and veil. The bodice is richly adorned with colorful embroidery and differs from skirts in color and material. The Hungarian women's apron is distinct from the Habsburg Empire as a unique Hungarian item. Finally, Hungarian costumes are characterized by the Oriental pattern and short boots with metal heels.

• 동양고전연구
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• 제41호
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• pp.61-90
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• 2010

본고는 조선시대 성리학자들의 계보 속에서 여헌(旅軒) 장현광(張顯光)(1554-1637)의 문학론과 산문이 지닌 특징을 구명하는 데에 목적을 두었다. 이는 그간 성리학자의 문학에 대한 연구가 16세기에 집중되었던 것을 반성하고, 17세기 이후 성리학자 문학의 향방을 탐색하기 위한 것이다. 여헌의 삶과 학문, 그리고 문학 전체를 관류하는 지향점은 '우주적 차원의 인문 정신'이었다. 여헌은 붕당의 분화 대립이라는 정치 구조의 변화와 임진왜란이라는 전쟁을 겪으면서, 우주적 차원에서 인문 정신을 실현해야 할 책임자로서 인간의 주체성을 재정립하고자 하였다. 이에 여헌은 문(文)을 통해야만 도(道)가 실현될 수 있다고 보았는데, 이는 16세기 성리학자들에 비해 문의 존재 가치를 보다 강조한 것이다. 여헌은 박영(朴英)(1471-1540), 조식(曺植)(1501-1572), 성운(成運)(1497-1579) 등 노장에 포용적이었던 전대 성리학자들의 산문을 수용하면서도, 주제적으로 노장적 사유를 소거시키고 형식적으로 우언(寓言)과는 거리를 두었다. 이는 이황(李滉)(1501-1570)의 견해를 수용한 것이었는데, 이황이 산문의 장르에 상관없이 성리학적 개념을 사변적으로 논설하는 데에 주력했다면, 여헌은 구체적 자기 경험을 기반으로 하여 우주적 차원에서 인문의 실현자로서 유자(儒者)가 지녀야 할 주체성을 환기시킨 점에 그 특징이 있었다. 이상을 통해 17세기 성리학들의 문학이 결코 16세기의 아류나 경화(硬化)에 불과한 것이 아니었으며, 변화된 현실 속에서 전대의 문학적 성취를 반성하고 갱신한 측면이 있었음을 확인할 수 있었다.

• 건축역사연구
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• 제16권6호
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• pp.67-86
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• 2007

Choseon Dynasty, from many aspects, saw the institutional establishment of its royal palaces in the 17th and 18th century, with 'donggwol (east palace)' as the most representative form in the era. In that period, palaces were managed in the best way that fits the royal etiquette and order to maintain the Confucian framework of the times. While the royal palace was the place for the king to conduct state affairs, it was also a compound for the royal family to lead a life in. Since the royal family was also based on the Confucian system, women in the royal palace seldom revealed their existence to outside world. Yet daebi,(a Queen Mother) who was often called 'dongjo,' enjoyed the highest level of honor not only as a member of the royal family but in the hierarchical order of the dynasty. As they often engaged themselves in political affairs, daebi raised their reputation through rites and rituals. So, in the 16th century, they largely used Changgyeong-gung palace in the eastern part of the royal compound since they sometimes had to go out of the royal residence. While it was called 'dongjo' because it was seated in the eastern part, it was also used as a word symbolizing daebi. And, therefore, it has become a general principle of royal palaces to build the palace for daebi in the eastern wing of the compound. However, the residence for daebi was not always built in the eastern part in the 17th and 18th century and, instead, edifices for daebi were sometimes erected in several points within the royal compound. Beside, daebi's residence in this period had additional spaces for ceremonies since they had a number of official events there. Construction of daebi's residences in this era was not confined to the symbolic institutions and they became the peculiar palaces with specific characteristics for official ceremonies of the queen mothers. Consequently, it could be said that the architectural style of dongjo, which was the place of the supreme female in the hierarchical order, stemmed from donggwol where daebi spent the longest time of the royal life.

• 한국실내디자인학회논문집
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• 제22권1호
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• pp.183-193
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• 2013

The study aimed to find the fundamental differences of aesthetics in Korea, China, and Japan by analyzing expressive features and structural meanings of the storage furniture from $17^{th}$ to $19^{th}$ century. The study was performed in four steps; analysis of expressive features, isotopic analysis, semantic structure analysis, and comprehensive interpretation. The results showed that three countries had linear shapes with curvilinear elements, closed forms with open spaces, natural material hues with change of tone or color, and symmetrical forms with asymmetrical patterns and structures in common. Korea comparatively accented on the natural material colors and wood grains. China stressed on the big and wide faces using three-dimensional carving. Japan accented on the linear elements with strong color contrast and decorative metal fixtures. These features were caused by the traditional thoughts and according aesthetic principles. Korea and China were affected by the Confucianism focused on establishing the order of rank. Meanwhile, Japan was more influenced by the Buddhism emphasized on the individuality and communication. Therefore, the differences of the expressive features in furniture among the three countries were inevitable consequences of the different ideologies.

• 한국의사학회지
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• 제28권1호
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• pp.25-37
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• 2015

"Donguibogam" has been published several times in Japan and China since the first was published and established itself as representing the East Asian medicine in 17th Century. Also, modern far has attracted attention as a major classic book of Korea medicine. For these "Donguibogam" its contents, as well as several medical historians and bibliographers were early comment on versions. However, these prior studies did not confirm about the various editions of the publication time, especially for the initial wood-block edition estimate only. Through this new study found the following facts. First, Wood-block edition of two Jeollagamyeong published until the mid-18th century to be confirmed by the "Seungjeongwonilgi". Second, the timing of the editions published later modified in Naeuiwon is confirmed by the "Chakpan Catalog" and the "Seungjeongwonilgi". Third, the person who keeps wood-block edition of Chonnamgamyeong is the first empirical examples of the same edition. Fourth, the edition is not published editions group that bypasses the Naeuiwon modified.

• 건축역사연구
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• 제29권3호
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• pp.79-90
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• 2020

In Korean traditional architecture, the Gong-po style is divided into the Jusimpo, Dapo and Ikgong. Jusimpo and Chulmok-Ikong, where only Gong-po is placed on the column, differ in form of Gong-po depending on the viewpoint. Since 'Chulmok-Ikgong' has been generally regarded as 'One Chulmok-Two Ikgong', the precedent researches have been conducted mainly on 'One Chulmok-Two Ikgong' in the Gong-po style classification. However, when it comes to 'One Chulmok', the style of Ikgong can be organized from the one to three steps and this study is particularly for examining the occurrence and transformation of 'One Chulmok-One Ikgong'. One of the case study sites, Bonghwa Cheongamjeong was originally built in the 16th century, and is believed to have been repaired from 'Non Chulmok-One Ikgong' to 'One Chulmok-One Ikgong'. Since the beam linked directly to the upper part of a capital, it does not connect the eave trave(architrave) in between. Also, Soro which supports Jangyeo(the architrave strip) has been placed and linked in comparatively lower position. It is confirmed by the signigicant difference in the hierarchy of Gong-po forms in one architecture. The Jeonju-Hyanggyo Daeseongjeon, which was built in the 17th century among the subjects, was similar with 'One Chulmok-One Ikgong', but it was found to be the type of Jusimpo form because the bottom of the beam and the top of the Ikong are apart. And Gongan is confirmed at Cheomcha. In the 17th century, it can be seen that Heot-Cheomcha disappeared and Ikgong was started to use as a constant figure. The end of the 18th century, it can be seen that it was changed into a ornament added on Haeng-gong, being seen in the case of Hwaseong Dongjangdae. In conclusion, it can be seen that 'One Chulmok-One Ikgong' were developed in both the Jusimpo and Ikong style. The transformation into 'One Chulmok-One Ikgong' was inevitable consequence related with an elevation difference between the eave trave and the column trave.

• 보존과학회지
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• 제32권4호
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• pp.571-578
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• 2016

심희수 초상화 2점의 채색 안료에 대한 분석과 현미경 관찰을 통해 채색 안료의 특성을 조사하였으며 비파괴분석 결과와 비교 검토하였다. 심희수 초상화에 사용된 안료는 색상에 따라 유사한 안료를 사용한 것으로 확인되었다. 적색 안료는 진사/주, 연단을 사용하였으며, 청색 안료는 석청, 녹색 안료는 녹염동광, 백색 안료는 연백을 사용한 것으로 확인되었다. 또한 유사한 형식으로 제작된 17~18세기 조선시대 관복초상화 6점과의 채색 안료를 비교한 결과 제작 시기에 따라 차이를 보였다. 적색 안료의 경우 18세기에 제작된 초상화에서 산화철 계통의 안료가 추가적으로 사용된 특징을 보인다. 청색 안료의 차이점은 18세기 초반까지 사용되지 않았던 회청 안료가 18세기 후반에 제작된 초상화에서 확인된 점이다.

• 복식
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• 제63권2호
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• pp.29-44
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• 2013

This study is about the periodic characteristics of Wonsam in the Joseon Dynasty. Wonsam include the Danryeong-shaped Wonsam in the beginning, the compound Wonsam in a period of transition and the stereotyped Wonsam in the late Joseon Dynasty. The formative characteristics of Wonsam are divided into four stages. The first stage of the Wonsam is from the 15th to 16th century. The shape of Wonsam began to form and it was similar to one of Danryeong during this time. The formative characteristics of the first Wonsam included collars that looked like one of Danryeong, side pleats(called Moo) with multiple inner folds, straight cylinder-shaped sleeves, and a belt tied with the Wonsam. There were various fabrics that were used for the Wonsam from this stage. Second stage of the Wonsam is from the early 17th to mid 17th century. This period marked the beginning of the transition of the Wonsam and it served as a stepping-stone to the development stage in the Joseon Dynasty. The characteristics of the transitional Wonsam were a complex combination of the Danryeong and Wonsam. During this period, the Wonsam went through many changes and forms in a short period of time. Third stage of the Wonsam is from the mid 17th to early 19th century. The Wonsam was developed at this stage. The developed Wonsam went through a period of transition equipped with a stable form. The formative characteristics of Wonsam during this period included collars that faced each other, big and wide sleeves with multicolored stripes, Hansam, curve-edged side seam and the side pleats(Moo) with multiple inner folds had disappeared. It was a turning point from the single-layered clothes to double layered clothes and from dark blue to green color appeared at this time. The fabric patterns of this stage tended to consist of more simplified silk pattern. The fourth stage of the Wonsam is from the late 19th to 20th century. The Wonsam was expanded at this stage. The formative characteristics and fabrics were typically used for the standard Wonsam and were divided into two types; as a ceremonial robe used in courts and a wedding ceremonial robe for the common people. Phenomena such as sewing of double-layered clothes as one and straight-edged side seam during the late Joseon period developed into simpler and more practical fashion culture.

• 한국한의학연구원논문집
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• 제17권3호
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• pp.17-24
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• 2011

Bonchoyuham Nyoryeong(本草類函要領) shows how Donguibogam(東醫寶鑑) -Mirror of Eastern Medicine- is understood, digested into Korean medicine, and at the same time how it participated in the historical shaping of Korean medicine since the publishing in the early 17th century. The author, Hyeon Jae-deok, internalized the structure, content, and significance of Donguibogam and drew out a novel, concise, but comprehensive type of medical manual, while many other medical books since the 17century in Korea are estimated to have been an abridged edition of the Donguibogam. It may well be estimated as exemplar of the extent to which Donguibogam informed Korean medicine since the 17 century. The book shows as well how Bencao Gangmu(本草綱目) -Compendium of Materia Medica- and Donguibogam are merged and set a new medical stream in the 19th century Korea. Hyeon Jae-deok looked at the Bencao Gangmu from the lens of clinical treatment and prescription such that he focused on sections, elements, or parts of procedures, treatments, and prescriptions, not on the herbal taxonomic knowledge of the book. This perspective was embodied in Bonchoyuham(本草類函), which cited simple remedies, prescriptions, or treatments from Bencao Gangmu.

• 패션비즈니스
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• 제22권1호
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• pp.100-113
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• 2018

From the late 17th to the early 18th century, Europeans were strongly intrigued by products from the East. Therefore, several countries like England, France, and Netherlands formed the 'East India Company' to pursue trade. First, European markets rapidly responded to this desire for exoticism by importing goods; then, they produced imitation Oriental goods. Finally, they made stylistically advanced exotic merchandise from the perspectives of European. In terms of the textile industry, this trend was expressed in the pattern design of silk, or the so called 'bizarre silk.' In this paper, bizarre silk patterns were scrutinized based on a digital archive of museums, catalogues of museums, portal sites, and the literature. The bizarre silk patterns were analyzed then classified into six categories: pseudo-Oriental plant pattern, pattern mingled with architectural motifs, pattern of juxtaposed with Oriental goods, abstract pattern, exuberant pattern with metal threads, and semi-naturalistic pattern. These patterns were characterized according to the following features: strangely large exotic floral patterns were undulating and asymmetrical; exotic foliage and flowers were sometimes mixed with architectural motifs or Oriental goods to easily show the Oriental influence; motifs of bizarre silk patterns were abstractly stylized; bizarre silk patterns became luxurious once more like the Baroque period; finally, floral patterns became more natural, and still exotic motifs remained in the background to maintain the bizarre silk features. These bizarre silk patterns evolved from the viewpoints of Europeans through acceptance stage, compound stage, and confluent stage.