• 가족자원경영과 정책
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• 제4권1호
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• pp.113-128
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• 2000

The purpose of this study is to investigate the actual condition of Coming-of-Age Ceremonies and to suggest the building blocks of a modern program for Coming-of-Age Ceremonies. This will be done through the study of the consciousness of students who participated in such ceremonies. This study was compiled from 262 data sources. The major findings as follows: 1. On evaluation of the opinions of student that have participated in Coming-of-Age ceremonies, a conclusion was drawn that such ceremonies were suitable held at age twenty. Also, drawn from the study was that most students preferred a event interweaving traditional ceremonies with blessing ceremonies and viewed that the current vogue of presenting expensive gifts was not suitable. Pertaining to the type of gifts preferred, school supplies and inexpensive accessories were on top of the list. In addition, a great majority agreed that traditional Coming-of-Age Ceremonies were difficult to perform but interesting and instructive. 2. It was discovered that a substantial majority perceived the need of Coming-of-Age Ceremonies and drew satisfaction from such events. The study also showed that satisfaction in school life and activeness in extracurricular functions was directly proportional to the student’s recognition of the need for the student’satisfaction drawn from Coming-of-Age Ceremonies. 3. It was shown that positive correlations existed between the need for and satisfaction drawn from Coming-of-Age Ceremonies and recognized the need for the comparison of modern and traditional Coming-of-Age Ceremonies and the establishment a desirable concourse of such ceremonies.

• 가족자원경영과 정책
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• 제14권4호
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• pp.1-20
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• 2010

The purpose of this study is to provide fundamental information of the practice of coming-of-age ceremonies as a family event. In order to achieve the purpose of this study, research questionnaires were developed, and 321 mothers residing in Seoul, South Korea were selected as the research subjects. The study was conducted from April 15th, 2010 to June 25th, 2010. The collected data was analyzed using SPSS17 computer programs. The conclusions are as follows. 1. In the future, coming-of-age ceremonies will be necessary in family event. 2. Education for mothers (specifically for mothers under the age of 30) opposed to coming-of-age ceremonies is necessary. 3. The contents for the education of coming-of-age ceremonies must include ceremony processes, alcohol consumption etiquette, and sex education. 4. Coming-of-age ceremonies, as family events, will be desirable to have on the 19th birthday. 5. Education of coming-of age ceremonies must be done in schools or social educational institutions. The Healthy Family Support Center will especially be able to play a central role. 6. Education of coming-of-age ceremonies is necessary even from the popular media.

• 동양고전연구
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• 제33호
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• pp.253-278
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• 2008

"삼국유사(三國遺事)"는 고대(古代)의 의례(儀禮)를 살펴볼 수 있는 귀중한 자료로 민속학적으로 그 가치가 높이 평가된다. 그러므로 필자는 여기에 주목하고, "삼국유사"에 나타난 의례(儀禮), 특히 관(冠) 혼(婚) 상(喪) 제례(祭禮)에 대하여 살펴보았다. "삼국유사"에 나타난 관례는 왕이나 귀족계층들의 자제들이 행했으며, 그 연령도 13세, 15세, 18세로 추정되는데 확실하지 않다. 고대에는 우리 나름대로의 관례를 행했던 것으로 보인다. "삼국유사"에 나타난 혼례, 그 중에서 수로왕과 허황옥의 혼례 절차에 대한 기록은 고려 이전의 왕실의례의 일면을 엿볼 수 있을 뿐 아니라 최초의 왕실 혼례 절차라는 점에서 그 의미가 크다. 그리고 유화와 해모수의 사통 내용을 통해 당시의 혼인이 중매를 통해 이루어졌음을 엿볼 수 있을 뿐 아니라, 고려 초에 근친혼을 했다는 기록은 자료적으로도 가치가 있다. "삼국유사"에 나타난 상례 가운데 혁거세왕의 상례에 대한 기록은 최초의 상례(특히 왕실 상례) 기록으로 볼 수 있다. 그리고 수로왕의 장례 내용을 통해 제후에 준하는 봉분을 사용했다는 점과, 탈해왕의 장사 기록을 통해 세골장 풍속과 소상을 만들었다는 것 등은 주목할 필요가 있다. 특히 고대의 상례를 어느 정도 파악할 수 있는바, 자료적 가치가 높다. "삼국유사"에 나타난 제례, 특히 수로왕의 제사에 대한 구체적인 기록, 예컨대 제사방식과 절차, 제전(祭田), 제수(祭需), 사당(祠堂), 진영(眞影) 등에 대한 기사들, 그리고 고대의 국가 제의의 일면을 파악할 수 있다는 점에서 자료적 가치가 크다고 하겠다. "삼국유사"는 신화, 설화적인 요소와 후대의 문식이 가미되었지만, 그럼에도 불구하고 우리 고대의 관례, 혼례, 상례, 제례를 살펴볼 수 있는 매우 귀중한 자료라는 점에서 민속학적으로나 예학사적으로 그 가치가 매우 크다.

• 복식
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• 제61권5호
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• pp.123-138
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• 2011

This study examined how Chipogwan[緇布冠] with such a long history has been changed in China and Korea. With regard to the name, material, use and form of Chipogwan, the results of this study is summarized as follows. Chipogwan was mentioned continuously in ancient books of ceremonies and literature from the Tang dynasty [唐代], but from the Song dynasty [宋代] new name Chigwan [緇冠: a black hat] appeared besides Chipogwan. The two names were transmitted to Joseon dynasty [朝鮮] and used together until the mid Joseon dynasty, but from the 18th-19th centuries, Chipogwan was adopted according to ancient ceremonies and this name has been used continuously until today. The change of the name reflects the change of the material. Ancient Chipogwan was made of hemp [布] but when the term Chigwan appeared in the Song dynasty it was made of paper and Sa [紗: a 2-end simple gauze]. As other materials were added to hemp, po (布) was omitted from Chipogwan. As to the use of Chipogwan, it was a coronet used in purification ceremonies [齋冠] in ancient times. Then, it was used as Chogagwan [初加冠: a first hat putting on] in coming-of-age ceremonies [冠禮] from Zhou dynasty (周). During the Song and Joseon dynasty, Chipogwan was used in coming-of-age ceremonies as well as in daily life. As to the form, Chipogwan in ancient books of rites and the Song dynasty was a small coronet covering the topknot. In the Joseon dynasty, the form of Song dynasty was followed until the mid period, and then after the mid $18^{th}$ century, another form was proposed according ancient books of rites and an independent form of ceremonial coronet appeared that covered the entire head rather than covering only the topknot.

• 한국식생활문화학회지
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• 제25권6호
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• pp.719-724
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• 2010

The purpose of this study was to survey public preferences for dining space image styles depending on the types of passage rites in Korea and to determine potential differences in public preferences for dining space image styles depending on the types of passage rites in terms of various general characteristics such as gender, age, family type, and preference for the image and color styles of the dining space. As a result, this study determined the following: According to a public preference survey of dining space image styles depending on the type of passage rites, our respondents showed the highest preference for casual images (27.1%) at a party for a 100-day-old baby. Additionally, our respondents showed the highest preference for casual images (27.4%) when celebrating a baby's first birthday but showed the highest preference for romantic images (35.8%) when celebrating a baby girl's first birthday. Our respondents showed the highest preference for casual images (21.4%) for graduation ceremonies. Our respondents showed the highest preference for classic images (21.7%) at coming-of-age ceremonies for new adult men, but also showed highest preference for elegant images (26.2%) at coming-of-age ceremonies for new adult women. Moreover, the respondents showed highest preference for classic images (41.0%) at traditional wedding ceremonies but elegant images (24.1%) at modern wedding ceremonies. In contrast, the respondents showed highest preference for classic images (31.3%) for a 60th birthday party. The highest preference for classic images (28.9%) was found for a diamond wedding ceremony. Respondents showed highest preference for classic images (30.4%) for a funeral ceremony Finally, our respondents showed highest preference for classic images (32.5%) at memorial services (religious ceremonies).

• 복식문화연구
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• 제8권2호
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• pp.237-260
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• 2000

According to the study of Jik-Ryoung(直領) consulting chronicles of the Chosun Era, Jik-Ryoung had been worn for various uses as official outfit, ordinary attire or clothes for the celebration of their coming of age, wedding ceremonies, funeral rites, and religious ceremonies, etc. from the beginning to the end of the Chosun Era. The conclusions are shown briefly as follows. 1. There are several terms of Po(袍) related to Jik-Ryoung in the chronicles under the name of Jik-Ryoung Ui(直領衣), Ui-Sal Jik-Ryoung(衣撒直領), and Jik-shin(直身). Jik-Ryoung Ui is the other name of Jik-Ryoung that they called it when it was used for funeral rites and religious ceremonies. The chinese Ye-Sal(曳撒) was called the Ui-Sal Jik-Ryoung in Korea, but this is different with Jik-Ryoung regarding its divided up and bottom style. Jik-Shin is almost same as Jik-Ryoung. 2. During the latter period of the Chosun Era, we can find diferent frequency in use of the Jik-Ryoung. Jik-Ryoung was shown constantly in the cases of that ding, Chinese Prince and lower-level constantly in the cases of that king, Crown Prince and lower-level officials wore it for funeral rites and lower-level officials, artisans, merchants, humbles and slaves wore it for official outfit. Uses of the Jik-Ryoung increased for military officers'outfits, in contrast to decreasing of uses for ordinary attires of king, Crown Prince, and the commons, and official outfits of civil officials. 3. These different aspects mean the change of estate and role. For the basic four ceremonial occasions the ceremonies of coming of age, marriage, funeral, and ancestor memorial-, it appeared constantly. Therefore the social role had been maintained also by then. As an official garb, the role for official uniform of petty official maintained by the end of the Dynasty. But from the latter 1600's to the former 1700's, the roles for official garbs of civil officials and military officers decreased and increased respectively. Before the Hideyoshi's Invasion of Korea in 1592, ordinary social clothes had orders by people's social status who wore them ; those were Dan Ryoung(團領), Hong Jik Ryoung(紅直領), Jik Ryoung(直領), Cho'l Rick(철릭) in the order named. After the war, various Po(袍), Shim Ui(深衣), Jung Chi Mak(中致莫), Chang Ui(　衣), Jang Ui(長衣), Ju Ui(周衣) and so on had been worn until the King Young Jo(英祖)·Jung Jo(正祖) period. In result, the social role of Jik-Ryoung was reduced as the uses decreased more and more. For a mourning dress, it had a same aspect as the case of ordinary social wear. 4. Considering the color, they used blue for the clothes for doing-up-the-hair ceremony, white for mourning clothes, and white, black for ancestor memorial ceremony clothes. On the official outfits of officials, dark blue and black were used mostly. And lower-level officials'clothes had white, red, and green on them. They used red and green for the plain dresses. 5. Examining the materials, clothes for the celebration of one's coming of age were made of high quality silks, Kwang Hwa Dan(廣禾緞). Also, they made clothes for funeral rites of rough and thick linen, and made clothes for religious ceremonies of linen and hemp. The official outfits were made of practical materials like cotton, hemp and ramie. Cotton, pongee and satin were used to make ordinary attire.

• 건축역사연구
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• 제25권4호
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• pp.31-44
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• 2016

Geum'yeok-dang house in Andong was originally constructed in 1558. The original floor plan of the upper base featured a 90-degree tilted '日' shape, and had inner court(內庭) on each side of 'Jungdang(中堂, center hall)' building that was placed on the south-north axis. When designing the building, the Neo-Confucian client of Geum'yeok-dang applied his understanding of how Ga'rye("家禮") defined the structure of ritual space. Consequently, 'Daecheong(大廳)', the place where guests were greeted and ancestral rites and coming of age ceremonies for male were held, was built in a protruding fashion. 'Jungdang'[otherwise known as 'Jeongchim(正寢)'], where coming of age ceremonies for females were held, the master of the house faced death, and memorials for close ancestors were held, was placed at the center of the residence on the south-north axis. The Geum'yeok-dang today was greatly renovated in the early and mid 18th century, due to the spread of 'Ondol' heating system. As the Ondol heating system became popular, the pre-existing drawbacks and the inconvenience of the house stood out clearly. As a result, the house was renovated into today's structure consisting of '口' shape 'Anchae' and 'Daecheongchae' in separate building.

• 복식문화연구
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• 제5권1호
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• pp.29-42
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• 1997

Our ancestors had done their best for the moral training and home management, further more for the governing a country through observing the decorums. The 4 main decorums, i. e. the Coming-of-Age Ceremony, Wedding Ceremony, Funeral Rites and the Ancestor worship Ceremony during the Chosun Dynasty had guided well our ancestors'life harmoiously. The Wedding Ceremonies of them was one of the most happy events in their lives meaningful of the filial piety and the union of two families. The Wedding ceremonies consist of the 6 etiquetes, i. e., Eui-Hon (matchmaking), N뮤-Chae (present), Nab-Pye(bride's presents to her parents-in-law), Chung-Gi(ask the other part about an auspicious day), Moon-Myung(choice of an auspicious day), Chin-Young(take and meet a bride) in order of sequence. Chin-Young consists of Cho-Hon, Sa-Dang-Go-Woo, Sung-Bok, Cho-Rye, Boo-Myung-Ji & Mo-Song, Jun-An-Rye, Hab-Geun-Rye, Sin-Bang-Chi-Reu-Gi, Hyun-Goo-Rye, Myo-Hyun and Jae-Haeng ete, considerably complicated programs in order.

• 복식
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• 제31권
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• pp.47-60
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• 1997

As we analyzed the formalities of court dress during King Soonjo's rule through the characters depicted in $\boxDr$Wangseja Chulgungdo$\boxUl$(The Painting for a Crown Prince's Outgoing for Schooling to Sungkyunkwan) the results were as follows: People wore their appropriate full dress ac-cording to the ceremonial procedures. In the case of a Crown Prince normally the wore Gongjungchaek(a hat) (after the coming-of-age ceremony Iksunkwan) and Gonryongpo(imperial clothes) to show his status as a Crown Prince. He wore chugkumbok(a Coat) to indicate a Crown Prince as being a student. on an occasion of celebration a Crown Prince wore Wonyugwan and Gangsapo to provide him with prestige and as a sign of respect for the occasion. The teacher of a Crown Prince also wore Gongbok and Sangbok accoding to the dress requirements of the ceremonies. We can confirm that the Gongbok system of all government officials had been main-tained in the late Chosun dynasty. We know that the form of ceremonies be-came simplified in the late Chosun dynasty. it was recorded that students had to wear Chungkumbok. but we knew from the painting that students actually wore Dopo(a traditonal korean coat). We knew through this painting that the court dress rules of the late Chosun dynasty varied that previously known. As we concluded above research on the his-tory of costume by analyzing paintings both supplements our knowledge of the topic and confirms the deficiency in the study of the his-tory of costume based solely upon literature and books.

• 역사민속학
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• 제52호
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• pp.197-250
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• 2017

관혼상제를 다룬 의례 매뉴얼의 출간과 필사가 일제강점기에 범람을 이루었다. 그러한 의례 매뉴얼은 대개 의례준칙, 사례서, 축문집, 종교예식서, 일용예식서 등 5종으로 분류될 수 있다. 이런 5종의 의례 매뉴얼은 목표와 내용이 서로 달랐지만, 당대 일반인들의 일상적인 민속과 종교의 형성에 깊은 관련이 있다는 점에서 상통하는 면이 있다. 당시 의례 매뉴얼은 엘리트 지식인의 지적인 성과물이기보다는 전근대의 예서와 문집에서 폭넓게 발췌하고 시대적 변화에 맞춰 첨삭을 가하는 수준에서 편집 발간된 것이며, 근대 인쇄술의 원조로 특정 계층에 제한되지 않고 폭넓게 유통되었다. 의례 매뉴얼은 깊이보다는 넓이를 강조하고 체화보다는 참조를 중시하는 민속지식을 대량으로 보급시키고 확산시켰다고 할 수 있다. 따라서 의례 매뉴얼에 대한 질적인 분석 못지않게 중요한 것이 그것이 얼마나 일반인들에게 참조되었는지를 판단하는 양적 이해라 할 수 있다. 일제강점기 의례 매뉴얼의 이해를 통해 당대는 물론 이후 20세기 민속의례 및 민속종교의 방향과 특질을 읽어내는 통로가 마련되길 기대한다.