• 헤리티지:역사와 과학
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• 제52권3호
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• pp.222-239
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• 2019

본 연구는 문헌을 통해 조선왕실의 부용향을 "순조순원왕후가례도감의궤"의 사례를 중심으로 살펴본 것이다. 한국에서 향은 삼국시대부터 불교문화와 함께 전래되었다. 부용향은 조선시대 왕실을 상징하던 향이며 왕실의 각종 의례에 사용되었다. 민가에서도 혼인할 때 신부의 가마 앞에서 부용향을 태우기도 했다. 부용향은 의례, 방향, 방충, 의료의 목적으로 다양하게 사용되었다. 부용향은 침속향과 백단향을 주 향재로 하여 모향, 백급, 영릉향, 감송향, 팔각향, 삼내자, 정향, 소뇌, 비초 등 10가지 향재를 혼합해 만든 합향이다. "탁지준절"과 "세종실록지리지", "조선왕조실록"의 기록을 통해 향재의 수급 방법을 추적했다. 각 향재의 특성을 파악하고 "제중신편", "동의보감" 등의 의서를 통해 제조법을 살펴보았다. 그리고 "조선왕조실록'과 "승정원일기"의 기록을 통해 부용향을 제작한 향장의 협업과 처우를 살펴보았다. 가례에서 부용향이 사용된 사례를 통해 조선시대에 향이 갖던 의의를 알아보았다. 가례는 이전의 가례도감의궤에 비하여 그 체제가 잘 정비된 것으로 평가받는 "순조순원왕후가례도감의궤"를 참고했다. 궁에서는 의례를 진행하는 동안 항상 향을 사용했다. 반면 신부의 집에서 진행된 경우 오로지 비수책의에서만 향로 차비 등의 향과 관련된 차비가 동원되어 이 시기에만 향을 사용했을 것으로 추정할 수 있다. 책봉 후에야 비로소 향을 사용하게 됨을 통해 부용향은 왕실 사람만이 사용했으며 왕실을 상징하는 향이었음을 추측할 수 있다.

• 복식
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• 제58권3호
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• pp.19-33
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• 2008

Hair style of royal ladies in the 19th century according to the wedding record of King Heon-jong and Lady Sunhwagung is studied in this paper and summarized as follows: First, Saengmeori was a bridal hair style for the wedding night in Gyeonmagi(jacket) and Daeranchima(Skirt with gold trimming). It was a typical girls' hair style before the coming-of-age ceremony. It was composed of Saengmeoridari(wig), Seockunghwang, Jogduri(Coronet decorated with Jewellery), Saengdaeng-gi(hair ribbon) trimmed pearls, and jade disk trimmed pearls. Second, Garaemeori(double bun hair style) was the hair style with Wonsam when the chosen bride went to Byeol-Gung, a special palace for the bridal. It was composed of Gareachi(wig) and Cheopji(small wig) with the frontal hair ornament, jogduri, and Saidang-gi(hair ribbon). Third, Jojimmeori(single bun hair style) is a basic hair style for the madame. It was composed of jojimmeorichilbo, jogduri, jojimmeoridari(wig), and Cheopji with a frontal hair ornament. Fourth, Keunmeori is the second most important hair style for the court ceremony. It was composed of Eoyeomjogduri, Eoyeomdari(wig), Cheopji with a frontal hair ornament, Keunmeoridari(wig), and Keunmeorichilbo. Fifth, Susik, the most important hair style for the court ceremony, is the hair style for ceremonies including the day of becoming the formal queen, the first greeting day to the King's family. It was composed of 4 kinds of wigs and Susik-chilbo.

• 복식
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• 제66권5호
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• pp.113-121
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• 2016

The purpose of this study is to analyze the types and characteristics of wedding ceremony robes in the Jeju area from the 1950's to the 1980's. The analysis used 413 wedding pictures. The results of the study are as follows: 1. The following are the propotion of robe types used wedding ceremonies. 1.0% of Danryeong & Jangot, 6.5% of Danryeong & Wonsam, 1.5% of Danryeong & Chima+Jegori, 2.7% of Durumaki & Chima+Jegori, 24.7% of suit & Chima+Jegori and 63.7% of suit & wedding dress from the 1950's to the 1980's. 2. The Korean-style robes gradually decreased from the 1950's, and disappeared in the 1970's. The Chima+Jegori was introduced in the 1950's, reached its peak in the 1960's and its popularity continued to the 1970's. In the 1980's, after the Korean-style robes disappeared, the western ceremony robes were used in all the ceremonies. 3. After the Western-style robes, in which a bride wears a wedding dress, was introduced in the 1960's, its usage rapidly increased in the 1970's and is still popular today.

• 복식
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• 제49권
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• pp.137-154
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• 1999

This study was designed to unify two types -traditional and western- of wedding dress in one and to develop new wedding dress which can be used to wedding ceremony as well as Pae-Bae(Greeting) as an alternative for the modernistic utilization of traditional wedding dress. The wedding dress for a bride and bridegroom was developed to be used not only for wedding ceremony but also for engagement. The children's dress which can be worn for carrying flowers in front of a bride and a bridegroom was also developed. All six dresses two of each for a bride and a bridegroom one of each for a body and a girl were developed from the review of literature and photos to be introduced traditional wedding dress. The results were as follows: 1. The Korean characteristics in the developed dress were expressed well in the curves straight lines oblique lines and cracks. 2. The traditional symbolic meanings were expressed by using the pattern which was on traditional wedding dress. Changes from five original colors -red, blue, yellow, white, black- to pastel colors also could modernize the dress. 3. The Korean characteristics could be effectively expressed in dying techniques and piling -up by using hand-made silk and No-Bang, 4. The children's dress for a ceremony was re-established to modernized design with traditional beauty. 5. The expenses could be saved practically because the dress was developed for wedding ceremony as well as for engagement.

• 건축역사연구
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• 제21권3호
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• pp.45-54
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• 2012

This research work is to analyze architectural characteristics of Sungnyemun especially in King Yeongjo's reign in Joseon dynasty. The result of this research is summarized as following: 1. The architectural characteristics of Sungnyemun in King Yeongjo's reign are closely related with Confucian ceremonies such as Jeon-jwa and Heon-goek-rye. To perform these ceremonies, some lower walls of Sungnyemun's wooden pavilion were removed and used as ceremonial space. And after ceremony it was restored. 2. The floor type of center bay of the 1st story of wooden pavilion should have a type of floor using long and narrow fine tree plate, which is same type before the repair work of 1960's dismantlement. 3. The width of east stairway which is reached to east small gate, was changed just before Japanese's rule(1910~1945), should be broaden than present width, which is proven through the recent excavation. 4. The reason of asymmetric characteristic of locations of both east and west narrow-gate, and widths of east and west stairway, are related with order of King's ceremony. * Jeonjwa : a ceremony to see national affairs or receive royalty from officials in main hall or main gate of palace in Joseon dynasty (some times open to public) * Heon-goek-rye : a ceremony after win a war and offering to king enemy's ear or head in Joseon dynasty.

• 건축역사연구
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• 제25권6호
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• pp.45-60
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• 2016

Sangnyang-mun(上樑文) is not only a memorial address for the ceremony of putting up the ridge beam, namely the sangnyang-ceremony(上樑式) but also the executional record of building construction. This paper aims at researching on the oldest five sangnyang-muns written for the constructions of palaces and government offices in Goryeo Dynasty, especially viewed in the architectural history. The results of that are as follows: First, it is supposed that sangnyang-mun originated in the ancient Chinese ceremonial songs for the celebration of building construction. Second, as compared against the former times, the sangnyang-muns in Goryeo Dynasty were written to the advanced establishing forms and literary patterns, so to speak, these were the more developed styles. Third, in the 12th century, sangnyang-mun was introduced from Chinese Song to Goryeo. To the late period of J oseon Dynasty, sangnyang-mun had been to write for the sangnyang-ceremony as necessary memorial address. Fourth, the writers of five sangnyang-muns in Goryeo Dynasty were the new civil ministers appointed by the soldier rulers. They wrote the contents of their sangnyang-muns, especially focused to the king's achievements. And in the yugwi-song(六衛頌), they recited six poems in which were complicated the world view and aesthetics of the time.

• 천문학논총
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• 제25권4호
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• pp.119-128
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• 2010

Gaecheonjeol is the National Foundation day of Korea when people hold a harvest ceremony. Nowadays, two representative harvest ceremonies of Korea are performed at Mt. Mari (摩利山) and Mt. Taebaek (太白山) on Gaecheonjeol (October 3rd). We study 28 flags with constellations appearing in the ceremony of Mt. Taebaek. These flags are lying in the outer of the circular stone wall during the ceremony. They represent an oriental heavenly star chart. We examine the shape, the connecting-pattern, the name, and the number of constellations drawn in the flags, and find several errors, such as, a wrong position, a typo of name, an irregular size, an omission, and so forth. Traditionally, the 28 oriental constellations are usually divided into four groups and each group has its own colour for each direction: Blue (E), Black (N), White (W), and Red (S). For the constellation flags in Mt. Taebaek, the colour of the flags is painted based on geographical directions, but the constellations are arranged followed by the direction of the celestial sphere. Thus, constellations in the northern and southern parts are counterchanged. Finally, we suggest some possible criteria for constellation map of the flags in this paper. CheonSangYeolChaBunYaJiDo (天象列次分野之圖) and CheonMunRyuCho (天文類抄) can be essential references for correcting constellations drawn in the flags of Mt. Taebaek.

• 복식문화연구
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• 제12권4호
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• pp.529-546
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• 2004

The Chosun Dynasty＇s establishment of Five-Ceremony, which occurred shortly after its founding, and the revision of traditional Korean music were based on Confucianism＇s Ceremony-Pleasure Idea(예약사상). The purpose of this study is to determine the effect of Cheo-Yong dancing, both social and political, on the role of royal dancing. Furthermore, this study will consider what the Chosun Dynasty＇s(조선) rulers pursued, by researching the reasonswhy Cheo-Yong dancing changed with the times along with the symbolic change of clothing for Cheo-Yong dancing through (Ak-Hak-Gue-Bum), a book which explains music and dance in Chosun Dynasty as a part of Ceremony-Pleasure Idea(예약사상) the people ruled ever the country tough courtesy etiquette and music. Consequently, Cheo-Yong dancing which was introduced in (Ak-Hak-Gue-Bum) played the roles of justifying, strengthening and displaying royal authority. And because the symbolism of Cheo-Yong dancing is reflected in clothing for Cheo-Yong dancing, it can be concluded that it expresses not only the sense of value of that times but also ruler＇s idea.

• 한국융합학회논문지
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• 제8권2호
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• pp.253-258
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• 2017

현대사회가 산업화, 도시화, 정보화로 풍요로운 삶과 동시에 기계화와 경쟁화로 인간소외와 스트레스로 인하여 자아상실이 발생하여 부적응 현상들이 많이 나타나고 있다. 발생한 부적응을 적응으로 변화하기 위하여 진실한 자신과 참나와의 만남에 노력을 기울여야 한다. 일상생활에서 진실한 자신 참나와의 만남의 도구로서 차는 좋은 역할을 한다. 따라서 본 연구에서는 차를 진실한 나를 느끼고 이해하기 위하여 다례를 통해서 자신을 존중하고 사랑하는 참나를 만나는 참나다례를 구성하고 대중화를 위하여 표준 웹 프로토콜 기술을 활용한다. 참나다례는 준비단계를 거쳐, 가장 기본적인 다도구를 사용한다. 참나다례는 차와 나를 소통하기 위하여 다도구와 나를 정화하는 단계, 나를 이해하며 차 우리기 단계, 나를 존중하며 차 마시기 단계, 참나를 만나는 단계로 구성되어 있다. 본 논문에서는 참나다례를 구성하고, 표준 웹 프로토콜 기술을 활용하여 참나다례의 대중화를 제안하였다. 표준 웹 프로토콜 기술을 활용하면 이용자의 접근성이 증대되므로 언제 어디서나 참나다례를 접할 수 있다.

• 복식
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• 제59권3호
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• pp.96-108
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• 2009

This study is made on the royal lady's dress In late Joseon dynasty according to the King Heon-jong and Lady Kyung-bin's Wedding Diary in the year of Jung-mi(1847) and summarised as follows: Girls' full dress was a set of a red skirt, a violet undo. jacket, and a light yellow jacket and a green Gyeon-ma-gi(a kind of top jacket) with he. hair Saeng-meo-ri hanging Do-tu-rak-daeng-gi(a kind of hair ribbon). At the big ceremony, girls wore a green Dang-ui instead of Gyeon-ma-gi. A girl picked up as a royal concubine wore a green Won-sam, which was decorated with gilt letters meaning longevity, patched emblems of gilt letter meaning longevity on the breast and on the back, belted with Bong-dae(a red sash with gilt phoenexes), like a princess's full dress. At the Kyung-bin's installation of Crown Princess and her first greeting ceremony with royal elders, she wore a green Won-sam as a formal dress, which had an embroidered emblem of phoenix, the belt with crystal ornaments, Pae-ok(佩玉), Kyu(圭) of blue jade, Shou(綬) with an phoenix. At a Dong-wrae-yun(drinking ceremony after bride and bridegroom's bowing to each other), she wore the embroidered red Jang-sam as a formal dress. Kyung-bin wore a purple Won-sam with Bong-dae as a full dress for a royal feast. According to the occasions, the same dress was differentiated with ornaments and rotors. Ji-keum-bal was an attire for ordinary ceremony. The attire was equipped with a woven gold green Dang-ui with an emblem of phoenix, a blue gilt underskirt and a red gilt overskirt. No-ui was worn as outdoor clothes. Jang-sam was worn by various classes, so it was differentiated with materials and names according to her class.