• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.1
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• pp.185-193
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• 2017

This study examined the family functions and satisfaction of life according to the types of family rituals and investigated the effects of family rituals on family function and satisfaction of life. The survey questionnaire was administered to 136 married women. SPSS Win program with MANOVA and Multiple Regression Analysis was used for data analysis. The main study findings were as follows. (1)The types of family rituals were significantly different according to age and satisfaction of life was significantly different according to the levels of family economy. (2)The influence of family ritual on family functions differed according to the subtype of family rituals. (3)The influence of family ritual on satisfaction of life differed according to the subtype of family rituals. This study indicated that it is necessary to develop affect, routine, and deliberateness for increasing family function and life satisfaction in married women.

• KOMUNHWA
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• no.66
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• pp.5-35
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• 2005

본 고는 매우 복잡 다양하게 출토되고 있는 선사시대 토기 중 굽다리토기에 대한 연구이다. 특수한 기형의 이 토기는 분류조차 제대로 이루어지지 않은 채 의례용으로 인식되어져 왔으며, 그 명칭 또한 무분별하게 사용되어져 왔다. 따라서 충분히 객관적이고도 적절한 정립이 필요한 상황이다. 이 토기는 저부와 신부의 상대크기에 따라 대부형(Ⅰ형)과 대각형(Ⅱ)으로의 세부기종 설정이 가능하고 세부기종별 속성분석을 통하여 6형식의 형식분류가 이루어졌다. 무문토기시대 전기 주거지유적에서 공렬 및 각형토기와 공반하는 1·2·3·4형식의 토기(북한→강원영동→경기중부·충청서해안지역)는 점토대토기문화가 도래하면서 생활, 분묘, 생산, 폐기 그리고 의례관련유구에서 출토되는 5·6형식 토기(경기중부·충청서해안→호남·영남지역)로의 변화를 보이면서 전개된다. 즉 점토대토기문화가 도래하는 시점에서 굽다리토기의 형식도 변화·확대되고 있다. 또한 출토맥락, 형식조합, 제작기술 등의 관점에서 공렬 및 각형토기와 공반하는 1·2·3·4형식은 일상 생활용기로의 상정이 가능한 반면 점토대토기와 조합을 이루는 5·6형식 토기는 의례관련유구와 분묘유구에서 다량 출토되고 있어 기원이나 소원과 관련된 의례용기, 그리고 부장용으로의 기능분화가 관찰된다. 〔주제어〕: 굽다리토기, 공렬토기, 각형토기, 점토대토기문화, 기술유형, 시공적 전개, 기능분화

• (The) Research of the performance art and culture
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• no.22
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• pp.63-92
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• 2011

This paper intends to clarify the characteristics of Seoul Ginoguigut in ritual form. This paper points out three characteristics; materialization of the journey to the world of the dead, direct communications with the dead, inclusive blessings for the dead and the living. Firstly, the journey to the world of the dead is materialized through various ritual processes of Seoul Ginoguigut. This characteristic is prominent in the context of comparisons with the death rituals of Confucianism and Buddhism, and of shamanism in other regions of Korea. Secondly, in Seoul Ginoguigut the communications of the dead and the living are made through direct dialogues between them through shaman's possession. The communications by direct dialogues between the dead and the living make it easy to accept death as a real fact, and have an effect of recognizing the individuality and uniqueness of each death. Thirdly, the blessings of Seoul Ginoguigut are so inclusive that they cover the dead's safe journey toward the world of the dead as well as the happiness of the living. This characteristic is related to the understanding of death of Korean shamanism that does not separate death and living. These three characteristics are perceived in the context of comparisons with the death rituals of Confucianism and Buddhism, and of Seoul Ginoguigut. And they give a clue to understand how the death rituals of Korean shamanism have persisted in Korean society.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.12
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• pp.1727-1738
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• 2002

세계화, 국제화, 개방화 시대에 살고 있는 우리가 통과의례나 전통 명절과 같은 특별한 행사에 의례복으로 한복을 애용하는 것은 한복이 한국의 문화적 이미지를 강하게 간직하고 있는 한국적 조형물 중의 하나이기 때문이다. 더우기 의례복은 특별한 행사 자체를 위해 착용되었던 만큼 당시대의 내 적 가치를 가장 현저하게 표출하고 있는 복식으로 인정 할 수 있기 때문이다. 본 연구의 목적은 시대 적으로 현대 전통 한복의 기본 형 식을 제공한 조선시대와 그 이후의 복식 중에서 특히 분명한 착용동기와 목적, 복식을 통해 나타내고자 하는 상징성 등을 함축하고 있는 아동용 의례복을 대상으로 복식의 형태, 색채, 문양, 소재 등의 조형 요소를 고찰하는 것이다. 또한 양식적 특성을 살펴보고, 그러한 조형적 특성을 형성시킨 당시대의 사상적 가치를 추론해 보는 것이다. 구체 적인 연구 방법은 먼저 관련된 문헌 고찰을 통한 이론적 배경을 토대로 하여 아동용 의례복의 범주를 설정하고 현재 보전중인 실물과 또는 사진, 풍속화에 나타난 복식 자료들을 수집하였다. 그리고 당시대의 사상적 배경에 대한 고찰을 병행하여 이들에 내재된 문화적 가치를 추출해 보았다. 연구 결과 양식적 특징으로는 남아의 두루마기나 전복 그리고 쓰개류 등에서 기능성을 고려한 변형적 양식이 나타나고 있었다. 색채 역시 음양 보색이나, 오행색을 바탕으로 한 기본색의 구성 이외 에도 소매나 섶에 응용된 색의 배열이나 맞깃 전복의 깃에 나타난 색의 조화는 다양한 색의 조형미를 표현하고 있었다. 특히 색동 등에 나타난 오행색의 배열, 안감과 겉감, 상의와 하의, 외의와 내의에 사용된 색의 조화는 미의식에 관한 문화적 가치를 추론해 볼 수 있다. 더우기 장식 표현에 주로 쓰인 자연물 문양이나 글자 문양은 당시의 지배 사상이 지향하는 덕목 이외에도 전통적으로 내재된 수명과 복록, 부귀와 영화에 대한 내적 가치들을 반영하는 조형적 상징들이라 할 수 있다. 소재는 비교적 계절을 고려하여 사용되고 있었지만 의례적 성격을 지닌 외의나 쓰개류의 경우 계절적 구분을 고려하지 않은 경우도 많이 나타나고 있었다. 장신구의 경우는 많이 사용되는 것은 아니나 역시 상징적 인 가치를 표현하는 실물들을 미적으로 재구성한 사례들이 나타나고 있었다. 이상의 연구를 통해 아동용 전통 의례복은 형태, 색채, 문양, 소재, 장신구 등에서 양식의 다양성과 변형들을 알 수 있었다. 또한 적극적인 내적 가치의 상징들을 복식을 통해 표현하고 있었음을 알 수 있었다. 현대 복식의 디자인에 있어 아동용 의례복에 나타난 창조적인 양식의 변형과 다양성 그리고 복식을 통한 내적 가치의 반영 등이 현대 사회와 조화를 이룬 실질적인 복식 디자인 제시 및 창작에 작은 영감으로 작용하길 바란다.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.353-365
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• 2018

This study is on the usage of bojagi recorded in Yeongjo Jeongsun Wanghu garye dogam uigwe. Major findings are as follows. The eighteenth century marked a period of entrenchment of Neo-Confucianism in the Joseon dynasty and the royal wedding was a tool to propagate Neo-Confucian values to the people. The bojagi used at King Yeongjo and Queen Jeongsun's wedding were made of simple red silk produced domestically to avoid extravagance. Uasge of costly flower-patterned silk from China was restricted to comply with the rules of the Kukhon jeongrye, which codified the royal marriage ceremony and the Sangbang jeongrye, which regulated royal attire. This modesty also shows King Yeongjo's determination to abandon lavishness.

• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.18-28
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• 2009

Korea Ancient Gagye in Clothing history has the following meanings with ceremonial, social, and aesthetic aspects, related to symbolism of its formality and procedures, flexibility about social aspects, and clothing beauty. First, Gagye must be worn in formal ceremonies with its clothes. Different Gagye in different time and place means the symbolism of its formality and ceremonies. Gagye played a big role as a means to carry out national ceremonies In diplomatic relationship with China. Second, Korea Ancient Gagye had been worn in every class irrespective of social status. Because it could be worn reflecting personal preferences even in old communities. Additionally Gagye had flexibility to reflect the historical aspects and improved various Gagye types reflecting Buddhism and practical science. So Gagye becomes significant sharing the common value with Korea Clothing culture. Third, Korea Ancient Gagye developed aesthetic spirit concerning beauty of Clothing. In the Age of the Three States, Clothing and Gagye types kept balanced and made good harmony. Gagye had gotten little exaggerated and expanded and become changed into loaded hair type.

• Korean journal of communication and information
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• v.28
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• pp.43-76
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• 2005

This study focused on the wedding ceremony. It was considered as important social text containing cultural codes of Korean society related gender system. Using the concepts of 'Myths', introduced by Barthes, this study analysed every procedure of wedding ceremony prevailed contemporary Korea. Romantic Love, creation of the ideology system of Western bourgeois and peculiar Confucian ideas about gender structure in Korean patriarchy system are both important frames determined wedding culture in Korea society. Thus this study divided wedding ceremony into displaying sphere and non-displaying sphere. Then, displaying sphere was framed by myth of romantic love, but non-displaying sphere was framed by traditional Confucian ideas. And, the transformation of contemporary wedding ceremony has the nature of kitsch, related the radical change of Korean class structure, also it worked as myth reveled up the unequality of present gender system.

• The Korean Journal of Quaternary Research
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• v.11 no.1
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• pp.1-24
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• 1997

한반도의 석기문화는 전기구석기부터 시작되는데 동아시아지역에 퍼져 살던 고인류 집단의 일파가 한반도로 확산하여 온 것으로 판단된다. 이들의 석기문화는 아슐리안주먹도 끼를 공반한 정형화되지 않은 구석기공작이었다, 중기구석기는 르발르와기법의 유무에 대한 논란이 남아있으며 전기적인특성이 그대로 지속되는 시기이다. 그러나 약 3만년전의 후기구 석기시대가 되면 석인석기공작이 나타나고 석기도 대단히 정교해 지는데 이 석기 공작은 동 아시아로 확산되어 오던 현생인류의 도구이었다. 바이칼호부근에서 기원한 세석인문화는 한 반도의 전역으로 퍼져나갔다,. 이 석기공작은 중석기를 거쳐 신석기에 이를 때 까지 눌러 떼 기기법과 함께 존속하였다, 신석기시대에는 마제기법이 나타나게 되고 어로용도구들이 새로 이 추가되기 시작한다 그리고 간단한 가공으로 만든 농경구들이 추가되기 시작하는데 중후 기에 가서는 마제농경수확구가 증가하게 된다, 청동기시대에는 금속기의 영향을 받은 마제 석검등의 대단히 정교한 석기들이 훌현하고 또한 석기의 기능에 의례적인 기능이 추가되면 서 양식이 분화하기 시작한다, 그러면서 생산구들도 효율성이 높게 발달해 나가게 된다.

• Industry Promotion Research
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• v.7 no.4
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• pp.85-95
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• 2022

This study intends to analyze the meaning of symbolism in ancestral memorial rite arrangemen from the view that ancestral worship connecting traditional society with modernity are the transmission of ritual. It appears as a change the theory of Yin-Yang and Five Elements that became the basis and ideology about the Confucian view of life and death, an understanding of the universe structure, and a change in the four seasons. Ancestral memorial rite arrangements acknowledge the existence of ancestors. And it is understood as a ceremonial instrument which the living and the dead communicate spatially with time through the symbolic system. In addition, the four seasons, spaces of the skyground and underground were symbolized and embodied through the selection and arrangement of ancestral memorial rites. In the modern ancestral memorial rite arrangement, the factors that determine the location require Time-space analysis of the target. This is because the offering is understood not only as a functional role but also as a temporal and spatial symbolism to be expressed through the offering. In this study, it is meaningful to consider it from the perspective of inheritance of ancestral worship culture through discussions about the ideological background and symbolic system that appeared in ancestral memorial rite arrangement