• 한국가정과학회지
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• 제5권2호
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• pp.101-118
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• 2002

This study focuses on the ideas that Chok-Du-Ri(족두리)ㆍHwa-Gwan(화관) are mentioned a substitute preventing abuses of luxury mood by Gache(가채) as the sharpest social problem at that time. First, the origin of Chok-Du-Ri(족두리) was introduced from Ko-Ko-Gwan(고고관) of Mongo(몽고) in Korea dynasty, then was linked to Chosun. That is, Ko-Ko(고고) started from headgear reflecting spiritual view of the northen people, its size was getting smaller passing through Ming(명) dynasty, its essential decoration changed and it carried out Jeon-Ja(전자) remaining decoration nature by real accessories, then it might be descended to Chosun. Second, Hwa-Gwan(화관) is very different from Nanaec(난액) of Chosun Dynasty Records, rather Jeonia, the original form of Chok-Du-Ri, is more similar to it. Third, its decoration like color, jewel, pattern etc influenced wishes of this life like sex, prosperity, glory, longevity, blessing, wealth and fame. Fourth, Chok-Du-Ri(족두리) was restored a substitute for Gache(가채), it was accessory for preventing luxury life, besides it was modeled from headgear in China, Chosun people had it. It is worthwhile as it was based on Chosun Sinocentrism(조선중화주의) in the latter period of Chosun and made it the fruit of that age. Moreover, in those days Qing(청) society accepted the advanced culture and institutional profit of Qing(청) actually, social mood is that home and overseas policy was corrected in many parts, Chok-Du-RiㆍHwa-Gwan were mentioned a substitute of Gache, symbol of luxury. It shows one part of Practical Thougth that abolishes vanity and affectation and makes useful profits in the latter period of Chosun.

• 한국가정과학회:학술대회논문집
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• 한국가정과학회 2002년도 학술대회
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• pp.63-64
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• 2002

• 한국의상디자인학회:학술대회논문집
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• 한국의상디자인학회 2004년도 한국의상디자인학회:학술대회논문집*Proceedings of the Korea Fashion
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• pp.31-33
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• 2004

본 연구는 조선시대의 혼례복 규범과 변천 양상에 관한 것으로, 신랑의 사모ㆍ관대, 신부의 족두리ㆍ화관에 원삼 또는 활옷이라고 하는 혼례복 규범이 언제부터 형성된 것인지, 보편적인 규범이었는지 등에 대한 검증을 연구목적으로 한다. 이러한 검증을 통해 혼례복 전통의 특징과 의미를 파악할 때 올바른 전통 혼례복의 계승이 가능할 수 있을 것으로 판단된다.(중략)

• 복식
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• 제60권8호
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• pp.86-99
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• 2010

This study considered the characteristics and use of the jokduri during the 18th century, which was shown in Ijae-nan-go written by Yoon-Seok Hwang. In Ijae-nan-go, not only the origin of the jokduri, but also its colors, materials, sizes, and construction methods are recorded, in detail. The Jokdori is assumed to have been influenced by costumes of China. The 18th century jokduri is mainly made up of black satin, and is composed of eight pieces of cloth. This looks similar to a contemporary jokduri, but the 18th century jokduri is bigger. At court during the 18th century, women decorated their hair styles higher by using the jokduri. Not only did the jokduri fix the topknot at the top of a woman's hair by wrapping the topknot, but also it raised the height of the topknot. This is different from the generally known method of wearing jokduri. Therefore, this demonstrates that there have been changes in the role and use of the jokduri over time.

• 보존과학회지
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• 제33권4호
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• pp.255-266
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• 2017

국내 문화재 생물피해 방제는 농약에서 유래한 화학적 약제를 사용하여 왔다. 그러나 인체와 환경에 대한 유해성 문제로 인하여 사용이 점차 제한되고 있으며, 새로운 방제약제의 탐색과 안전성 연구에 대한 관심이 지속적으로 증가되고 있다. 개발된 천연 생물방제제의 안전성은 동물실험을 통한 독성평가로 확인하고 있으며, 치사량과 자극성 평가를 위하여 경구독성, 경피독성, 안점막자극 및 피부자극 시험법을 이용하여 안전성을 평가한다. 독성평가를 위해 실험용 쥐와 토끼를 이용하며, 쥐에 대해 단회 경구독성과 경피독성 시험을 실시하고, 토끼에 대해 안점막자극시험 및 피부자극 시험을 시행한다. 본 시험에 이용한 천연 생물방제물질은 목재부후균과 흰개미에 대한 항진균활성 및 살충활성이 조사된 족두리풀 추출물을 적용하였다. 쥐에 대한 단회 경구투여한 결과 $LD_{50}$ 값이 수컷 4,000 mg/kg 이상, 암컷 2,000 mg/kg 이상으로 판정되었으며, 단회 경피 투여한 결과 $LD_{50}$ 값이 암수 모두 10,000 mg/kg 이상으로 판정되었다. 토끼의 눈에 대한 자극시험에서는 무자극성으로 판정되었으며, 피부에 대해서는 약한 자극성이 있는 물질로 판단되었다. 본 연구를 통해 천연 생물방제물질인 족두리풀 추출물의 안전성을 동물실험으로 확인함으로써 화학 물질의 안전성 검증을 위한 기본적인 유해성 평가 방법으로 제시하고자 한다.

• 복식
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• 제50권3호
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• pp.105-116
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• 2000

In the middle of the 20th century the traditional wedding costumes in Chungchung district were very similar to those of high officials. A bridegroom out on blue DanRyoung, Samo, official belt, buckskin and two cranes figured Hyoongbae which high-ranking officials wore, A bride put green Wonsam and Chonkduri on her hair, The color and cloth of Chogori, Chima and underwear showed wedding practice in those days on which a daughter-in-law should endure a hard married life. It reflects the Confucian ideas and a patriarch society. This paper studies on the substantive reason they wore the traditional wedding costumes in Chungchung district is not thoroughly considered in a folkloristic respect. The traditional wedding culture that a bridegroom and a bride wore a formal suit can be a good instance which showed us their desire for social status of the upper class. The wedding practices were performed in order to get rid of an omen and keep a good their fortune.

• 복식문화연구
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• 제8권6호
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• pp.871-886
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• 2000

The purpose of this study is to understand the culture on the Traditional Wedding of the West Gyeong Nam District. The traditional wedding was characterized that the bridegroom visited his bride's house accompanied by his honored guests(上客) and the marriage ceremony was to be held in day time, and then the bridegroom became a son-in-law and stayed with the family for a few days. The bridegroom returned to his home, leaving his bride behind. After a certain period, the bride came to her husband's home as a daughter-in-law. The Traditional Wedding costume of the bridegroom were Samo-Gwandae. The coat (outside uniform) was blue Danryeong ornamented with two cranes figured Hyong-Bae and Heukgackdae. In case Samo-Gwandae was not available, Dopo or Durumakie could be substituted and they put on shoes in this case. A bridegroom put on Mokhwa his feet and under the Samo, and he also put on Nambawie or Bokguen. He put on Dopo or Haeng-eui(行衣) or Durumaki under the blue Danryeong. The bride put on Wonsam and Chokduri or Hwagwan on her hair. In case Wonsam was not available, Chima Jogori style or imitational Wonsam, which was roughly sewed with red cloth and blue cloth contained in the Honsuham (Box of wedding treasure), could be substituted. She put on Hyang-guen to protect her body against the coldness and to hide her face.

• 복식
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• 제65권6호
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• pp.79-98
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• 2015

This article studied women's headdresses that appeared in the paintings of Joseon Dynasty. This examined the shapes of women's headdresses painted in genre paintings, record paintings and nectar ritual paintings from Joseon Dynasty and compared them to literatures and relics in order to analyze their types and characteristics. Headdress can be categorized into three types: (1) square cloth worn on the top of the head; (2) a kind of small cap; (3) Cloth that completely covers the head. The first type of headdress resembles the shape of Garima. In the early period of Joseon Dynasty, it was worn not only by Gisaeng, but also by both upper and lower class women. The second type of headdress includes a cap made by connecting several cloths, round cap, and cone-shaped cap. These two types are worn on top of the head. However, sometimes these were worn between the head and the chignon to fix the chignon. Also, these were used as hair accessories for decorative purposes. In particular, old women wore these headdresses and braided their white hair around them to fix the chignon. This way, the headdress not only kept the head warm, but also hid the old women's scanty hair. Headdress was usually made of black fabric and it was a simple hair accessory that replaced the wig. The third type of headdress was widely worn among lower class women. The cloth completely covered the head so that the hair would not fall when working. It also provided protection from cold and hot weather. According to paintings, there were many ways of wearing the cloth around the head.

• 원예과학기술지
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• 제17권3호
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• pp.346-351
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• 1999

제주도의 한라산에 분포되어 있는 우리 나라 자생 새우난초류의 원예적인 품종의 체계를 확립하기 위한 분류와 명명의 연구 결과는 다음과 같다. 화색, 꽃잎(petal), 꽃받침(sepal), 설판(lip)등의 분류를 통하여 새우란은 20종('아랑', '청수(淸水)', '사라(紗羅)', '애열(愛烈)', '다리곶', '새뱅이', '안덕(安德)', '샛별', '교래(橋來)', '자수정(紫水晶)', '백록(白鹿)', '서광(西光)', '덕천(德泉)', '선흘(善屹)', '새치미', '족두리', '배달', '녹수(綠水)', '노을', '단심(丹心)'), 금새우란은 16종('황희(黃喜)', '와흘(臥屹)', '일출(日出)', '황룡(黃龍)', '다보(多寶)', '황진이(黃眞伊)', '대하(大鰕)', '취광(翠光)', '석양(夕陽)', '은파(銀波)', '취선(醉仙)', '신바람', '아라(我羅)', '단오(端午)', '파계(破戒)', '소접(素蝶)'), 왕새우란은 22종('동광(東光)', '명덕(明德)', '왕돌선(王乭先)', '명력(明力)', '귀부인(貴婦人)', '세미', '천왕사(天王寺)', '만덕(萬德)', '설문대', '경옥(敬玉)', '다랑시', '별방(別房)', '홍학(紅鶴)', '동백산(冬栢山)', '제주도(濟州島)', '삼다(三多)', '관덕(觀德)', '영주산(濚州山)', '탐라(耽羅)', '고영디', '용두암(龍頭岩)', '절부암(節婦岩)')으로 분류하고 품종으로 명명하였다.

• 복식
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• 제64권5호
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• pp.1-17
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• 2014

This study explores women's Wonsam in the 18th century. Wonsam was women's wedding dress, one of the representative ceremonial garments of Korea. Wonsam began to appear in the excavated clothes around the 18th century, and we can find drawings and records of the period in Yongjae Collections by Kim-kunhaeng. The form of Wonsam after the 17th and 18th centuries showed the changes in which Seop and Mu disappeared in Baeja form of Danryoung(團領) and the right and left symmetry and side slits were highlighted. The change also included wide and long sleeves and Sakdong(색동) colorful strips on the sleeves), Hansam ornaments, and the use of the belt, which means the change of Baeja composition into our traditional costume of the age. Through the Colletions, we notice that women wore Wonsam in different colors and with varying hair accessories according to the nature of ceremony, the social status, and marital status. Concerning Wonsam, the color of clothing for the dead woman was green(喪禮), while that for marriage ceremony was red(婚禮). Wonsam with the light color was for ceremonial clothing(祭禮). The women who served in the palace wore green Wonsam and Geodumi, while a bride at the marriage ceremony wore red Wonsam or a red long-sleeved robe with Jokduri. At the ceremony of Hyeongunorye, women wore Wonsam with a wig. the dead woman wore Yemou.