• 복식
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• 제53권1호
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• pp.17-34
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• 2003

This paper investigates the rank system of official uniforms of Qing dynasty to analyze ethnic characteristics of the official uniforms. As a research document, Qing Huidian Tu(청회전도) has been used. The official uniforms of Qing dynasty were chao-fu(조복), ji-fu(길복), chang-fu(상복), hang-fu(행복), and yu-fu(우복), which were used in different occasions. Each of the five official uniforms had distinct items. For example, chao-fu(조복) consisted of four items: chao-guan(조관), chao-fu(조복), chao-dai(조대), and chao-zhu(조주), and ji-fu(길복) consisted of four items: ji-fu-guan(길복관), long-pao(용포), ji-fu-dai(길복대), and chao-zhu(조주). Each of these items had elements that made distinction between ranks. This research shows that the important elements to make distinction between ranks were textiles, precious stones, patterns and colors, and additionally the number of Bo(보) and the types of Bo(보) were used.

• 복식
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• 제64권7호
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• pp.29-44
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• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• 산업진흥연구
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• 제5권1호
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• pp.165-170
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• 2020

본 논문의 국어제목은 "청대만몽동맹관계(淸代滿懜同盟關係) 특징에 관한 연구"이다. 본 연구는 17세기 초반 동아시아 명청전쟁이 진행되는 과정에서 청나라를 건국한 만주족이 어떻게 국력의 열세를 극복하였는지에 관해 서술하였다. 청나라는 총 12명의 황제를 배출하였다. 그 시호들을 살펴보면 한족의 이름, 몽골족의 이름, 만주족의 이름이 각각 독립된 개체로써 기록된다. 본론에서는 만주족들이 몽골과의 동맹에 대해 서술될 것이다. 연구결과, 만주족의 건주여진들은 명나라와의 전쟁을 진행하기 위해 몽골귀족들과 혼인을 통해 전략적인 동맹을 맺었다. 또한 팔기제도라는 것을 통해 사회구성원들을 전투에 최적화된 집단으로 재편하는데 성공했다. 이 팔기군 안에는 동맹을 맺은 몽골족과 전투중인 명나라의 귀순병들까지 포함시켜 명나라와 대적할 만한 전투 집단을 만들었다. 만주족들은 이 팔기제도와 몽골과의 혼인동맹을 통해 경제적으로나 군사적으로도 열세였던 명나라를 제압하고 결국에는 중국 전체를 통일하는 저력을 발휘했다.

• 대한가정학회지
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• 제41권5호
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• pp.193-203
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• 2003

Magoja is a jacket for men and women. Magoja was worn between the jacket, jogori and the coat durumagi; that is over the jacket and under the coat. In the 19th century, Daewon-kun, who was wearing maqua, was in China and he came back to Korea. So, it was believed that the origin of magoja was from maqua from Qing. But, there were differences between magoja and maqua in their design. Therefore, I researched the origin of magoja and tried to know the design and the method of wearing magoja in the Chosun dynasty. The results are as follows. The design of magoja, especially its collar, was different from Chinese maqua. As analyzed above, it is difficult to regard the origin of magoja as deriving from Daewon-kun's maqua, which he wore when he went to Qing. Magoja-style jacket can be found from many old pictures. The collar of those jacket, whose style was waonsam-git unlike the present-day magoja, is consistent with the collar of sagyusam or baeja. And this kind of git style had existed for a long period of time as already studied in bangryungbangbi. Furthermore, the origin of this kind of jacket dated back to the maeksu of the Sung Dynasty; maek meaning Koguryo, maeksu was understood to indicate the style of the Koguryo jacket of short sleeves for the convenience of horseback riding. Maeksu, which varied in its kind and style, had been used as the equestrian clothes in China and was assumed to be particularly put on widely during the Yuan and Sung Dynasties. Maeksu continued to exist as daegeumeui during the Ming Dynasty but, later called magua, it was worn more widely ding the Qing Dynasty of the Manchus. This kind of maeksu or magua was the jacket which could be put on the coat and this style of wearing it during the Chosun Dynasty could be confirmed by the pictures. Therefore, magoja is not the jacket which was all of sudden derived from Qing's magua but one of traditional Korean clothes of the northern provinces which had existed for a long period of time. And magoja seemed to be put on more widely during the latter part of the Chosun Dynasty because of the influence of Qing's magua.

• 한국가구학회지
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• 제27권4호
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• pp.375-382
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• 2016

This study focuses on the shape of the bottle, the Chinese Qing Dynasty porcelain decoration. Consideration given to understand the basic form of the catheter, and the basic division. To study the binding form to the principles of the design work to prepare a lacquer on the basis of the results obtained here. When classified by type illness Qing Dynasty porcelain decorative porcelain six types, semi-porcelain could be classified into five types. Production form to pursue work in this study design is produced in the form of asymmetrical vases object type curve. These bottles of Qing Dynasty porcelain for decoration. The basic type of pottery types and selected six of its basic and applied work. Production design work was produced Hyupjeotae production techniques that facilitate formative representation.

• 고전문학과교육
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• 제37호
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• pp.253-281
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• 2018

이 논문은 19세기 말 가린-미하일로프스키에 의해 채록된 "조선설화" 속 수달 전설의 특징과 그 의미를 밝히는 것을 목표로 한다. "조선설화"에 수록된 64편의 설화들은 1898년 두만강과 압록강 유역에서 채록된 것으로 이른 시기 한반도 북부 지역에서 전승되던 설화의 일면을 보여주지만 1980년대 후반에 이르러서야 우리에게 소개되었다. 이후 선행 연구를 통해 "조선설화"의 대체적인 성격과 연행 과정에 대한 정리가 이루어졌다. 그러나 개별 작품에 대한 본격적인 논의는 아직 미흡하다. 이에 본고에서 조선과 만주의 기원을 다루는 설화 <수달에 관한 전설>을 중심으로 그 이야기의 형식적 특징을 살폈고, 나아가 이야기 속에 형상화된 누루하치 가문과 이성계 가문의 대결 양상에 개입하고 있는 서술시각의 의미에 대해 논의해 보았다. 그 결과는 다음과 같다. <수달에 관한 전설>의 형식적인 특징은 '야래자 유형'과 <물 속 미륵 귀에 건 아버지 유골>, 눈 빛 강한 이인, 정충신 일화처럼 개별적으로 존재하는 설화 유형이나 화소를 재구성하여 새로운 혼합형 설화로 만들어냈음을 밝혔다. 각각의 서사 논리를 지닌 기존의 설화들을 재배치하면서 <수달에 관한 전설>에는 여러 변형들이 생겨났다. 그러나 다양한 종류의 변형을 가로지르는 일관된 논리는 누루하치 가문과 이성계 가문 간의 비교와 대결을 뚜렷하게 만들기 위해 개별 설화를 활용하려 했다는 점이다. 그 결과 청나라의 기원이 되는 누루하치 가문의 신성성은 확대되고 구성원들의 인품도 높여졌다. 반면 조선의 기원이 되는 이성계 가문은 누루하치 가문에 비교해서 비범성이 떨어지고 능력도 떨어졌다. 그런데 이것은 청나라에 대한 선망에서 비롯한 것은 아니었다. 오히려 청나라와 조선의 혈통은 관련이 있다는 생각에 기반하고 있었다. 19세기 말 한반도 북부에서 채록된 설화에 담긴 인식은 청나라에 대한 재조명인 바, 청은 조선의 또 다른 혈통이기 때문에 청나라가 천하를 통일했던 경험을 조선 또한 공유해야 한다는 것임을 확인했다. 그것은 후일 금나라의 역사를 민족사의 관점에서 포섭하고 만주와 조선을 단군대황조의 후예이며 한 겨레로 보는 대동(大東)사관과 닮아 있는 것이기도 했다.

• 헤리티지:역사와 과학
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• 제55권1호
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• pp.5-34
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• 2022

본 연구는 청대 황가능침원 12기를 대상으로 입지와 풍수 그리고 형태와 구조 등이 어우러진 시설 배치상의 특징을 고찰함으로써 청대 황가능침원 고유의 조영 경관적 특성을 구명하고자 한 것이다. 문헌조사와 현장 관찰 및 인터뷰, 영상 및 도면 비교 그리고 귀납 대비적 분석을 통해 청나라 시대 황가능침원의 조영 경관 특성을 자연환경, 입지 및 풍수 형세, 조영 형태와 구조로 구분하여 분석하였다. 그 결과 풍수 형국, 중축선에 따른 축선 연장거리, 능침 폭, 기점과 종점의 고저의 차에 따른 시설배치의 정형성, 능침의 좌향, 진입공간-제향공간-능침공간의 공간 비율 등의 분석에 따라 청대 황가능침원의 입지형국과 배치 계획상의 특성을 도출하였다. 또한 능침 시설물의 종류와 배치 순서 그리고 석상생의 분포 및 수량 및 종류 분석을 통해 능침의 시설배치적 특성을 도출하는 한편 명나라 시대와 다른 몇 가지 조영 특성을 밝힐 수 있었다. 또한 수계를 통한 공간분할 효과, 중축선에서의 광경(框景)과 협경(夾景)의 조망 효과가 소밀대비(疏密對比)와 함께 청대 황가능침원에서 발견되는 대표적 조망경관 효과임을 확인하였다.

• 한국의상디자인학회지
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• 제7권1호
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• pp.65-75
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• 2005

The purpose of this paper is to understand the formal characteristics of Pi-Ling by investigating the Pi-Ling(披領)'s system of Qing Dynasty. As a research document, Qing-Huidian-Tu(淸會典圓) has been used. The following results were found out in this research; 1) The form of Pi-Ling was horizontally wide and both sides were narrow and sharp. There was a circular hole in the center of Pi-Ling. It was worn around the neck by a button in its front center. 2) materials: The materials of Pi-Ling were the leather of marten or sea-lion, satins, and silk. 3) The color of Pi-Ling was purple or blue. 4) Moving dragons(行龍) were used on the pattern of Pi-Ling. And the Pi-Ling of low level officials had no patterns.

• 대한한의학원전학회지
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• 제31권2호
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• pp.83-103
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• 2018

Objectives: The Qing Dynasty experienced a development in Yunqi even greater than in the Ming Dynasty. Popularization and universalization of Yunqi theory led to many books on the subject published, especially with weights on Warm Heat Disease and Pestilence, also giving birth to new Yunqi theories. A study into this development has a great significance in the study of the traditional medicine in Qing. Methods: The paper studies the Yunqi books published in the Qing dynasty to find out the unique characters of those books. To understand the direction which the Yunqi theory in the Qing period took, the paper also reviewed the positions of different groups, those who were favorable, those who compromised, and those who were unfavorable. Results: Four directions were taken by the study of Yunqi in the Qing period. First is the systemic study and composition of Neijing's chapter of Yunqi. This direction was taken by Liumaoxiu's NeiJingYunQiBingShi) and $N{\grave{e}}ijingyunqibiao$, Xuefuchen's Suwenyunqitushuo, Zhuenhua's Suwenyunqiqianshuo, an unknown person's Su wen yunqi chao, Weigeliu's Neijingqihuapian. The second direction is the study of Yunqi in relation with the Warm Heat Disease and Pestilence, which was taken by Mayin lin's Wuyunliuqiwenyifayuan, Lumaoxiu's Suwenyipianbìngshi, Litianchi's Shiyiwenbingqìyunzhengyan lun, and Wangxun's Cihangsanyuanfujifang. The third direction deals with a new Yunqi theory. The Fourthis the explanation of Yunqi in the form of Songs, which was taken by Wuqian's Yunqiyaojue, and Wengzao's Yunqiyaojue. Conclusions: Ludanchen published Yunqibian, and explained that Haizichouyinmaochen, which is the eclipse's south latitude, becomes Nanzheng, and Southern government, which is the eclipse's north latitude, becomes Northern government. Lumaoxiu revealed that the Liuqidasitian, founded by Wangpuzhuang, his great grandfather on the mother's side, is in alignment with the theory of Dashitian, used by Liushozhen, Lidongyuan, Zhudanxi, and Zhangjingyue. The representative figure in the favorable view of Yunqi in the Qing period is Wuyang, that of those who compromised is Fengzhaozhang, and that of opposition is Zhangzhuo.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2001년도 Bulletin of The 5th Asian Design Conference International Symposium on Design Science
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• pp.82-82
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• 2001