• 한국의류학회지
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• 제11권1호
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• pp.87-96
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• 1987

Dan-Ryong is the traditional clothing that was worn the entire of oriental nations, and it was spreaded from Sun-Bi tribe to China about A.D. 4C. The first, the name of Dan-Ryong was translated with 25-Sa and Ancient-History Book. Among the name of Dan-Ryong, the follows were different between the name and shape. Jang-Bok was the colored Dan-Ryong, So-Bok was the unfigured black Dan-Ryong and removed Hyung-Bae, Ea-Mun-Pho was the Dan-Ryong of embroidered figure poetry, and Ja-Sam was the real short and tight Dan-Ryong. The second, some problems were given by translated Dan-Ryong's name. The results of the problems were as follows; 1. Dan-Ryong was oriented from Won-Wi. 2. At Su-Dynasty, there was going to the persuit of Han-Dynasty Courtesy, but they liked useful custom. Therefore Dan-Ryong was worn in daily life among the population. 3. At Dang-Dynasty, Ho-Bok was devided with three meanings. The first was Go-Sub, the second was Dan-Ryong of Buk-Jo about A.D. 3$\~$5 C and the last meaning was the clothing of Uighur, Turkey, Persia and etc. about A.D. 7 C. 4. The name of neck-line shape was started at Song and the majority arised about A.D. 12 C. and Dan-Ryong was only arised at Myong-Dynasty. 5. Gok-Ryong, except Song-Sa and Sam-Je-He-Bo, was different from Dan-Ryong and it was shape of neck-line inside of Jik-Ryong.

• 복식
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• 제50권4호
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• pp.73-87
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• 2000

The court dancing suit, so-called "JeongJae(呈才) suit," has been worn by court dancers on the occasion of the royal court′s feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national quests from foreign countries. There are 53 kinds of court dancing suits, ranging from the age of the ancient Three Kingdoms to the period of Chosun Dynasty. The court dancing suits are divided into two styles : DangAk-JeongJae(唐樂呈才) style and HyangAk-feongjae(鄕樂呈才) style, depending on dancing styles. Since the court dancing suits in the age of the ancient Three Kingdoms and Koryo Dynasty have already been studied previously, this study discussed the change of dancing suit styles created in the latter period of Chosun Dynasty, such as YukHwaDae(六花隊), MuSanHyang(舞山香) and ChoonAengJeon(春鶯), and the thought of Yin-Yang and five elements(陰陽五行思想) that the colors of the court dancing suits imply. The purpose of this study is to understand the thoughts contained in the ancient suits as well as their styles in order to inherit and uphold our traditional culture properly.

• 대한한방내과학회지
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• 제18권2호
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• pp.40-52
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• 1997

1. Xiaoke(消渴) had been defined symptoms as polyuria with polydysia in Han and Dang Dynasty(漢唐時代), diagnosed variable disease as to the region of typical symptoms in Jin and Yuan Dynasty(金元時代) and classified into Upper-jiao(上消), Middle-jiao(中消), Lower-jiao(下消) by typical symptoms in Ming and Qing Dynasty(明淸時代). 2. The complications of Xiaoke(消渴) consist of carbuncle and phlegmon(癰疽), hemorrhoid and diarrhea(痔疾), an eye disease(眼病) such as nyctalopia(雀目) and cataract(內障) without Zhongman and Guzhang(中滿鼓脹) resulted from wrong medical treatmentis considered the pathology of Huore(火熱) 3. The pathology of Xiaoke(消渴) has been taken an instance of Shen-zao(腎燥), Five zang-organs's ganzao(五臟乾燥), Zao-re(燥熱), Shi-huo(實火) and Xu-huo(虛火), and since Jin and Yuan Dynasty(金元時代) generally cosidered Zao-re(燥熱). 4 The complications of Xiaoke(消渴) are explained the pathology of Huore(火熱), in the an opinion that the the pathology of Huore(火熱) changed into Zao-re(燥熱), and then Zao(燥), the pathology of Xiaoke(消渴) is similar to Huo(火), the pathology of Jungpung(中風).

• 패션비즈니스
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• 제13권5호
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• pp.23-36
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• 2009

The purpose of this research is to design and to produce actual high value added wedding dress comprised of the pear blossoms pattern(梨花紋), which is one of the traditional patterns which was not researched to this day, and of the Dang-$\breve{u}$i(唐衣) image which reflects our concept of beauty as if as a means of conducting empirical study for the application of traditional Korean patterns to the contemporary application. pear blossoms effectively signifie the image of beautiful bride thanks to the pure, graceful and clean image of white flower, both in the external and internal aspects. The Dang-$\breve{u}$i of the Chosun Dynasty, which is another motif is one of the representative clothing that expresses the beauty of the curve when it comes to the Korean culture as traditional wedding dress. Attempt was made to develop design for wedding dress that expresses the Korean style beauty that combined the tradition and the modern. Towards this end, the project was composed of the Korean-like Ewha, image of the Dang-$\breve{u}$i I, II and III to design three dresses. The Dress I presents the image of pure, elegant and beautiful bride, while Dress II represents the pure and city like trendiness of the Korean women today as bride. Dress III was made centered on the image of elegant, and chaste bride. As for the materials used, hand-woven silk and silk organza used for the traditional clothes. As for the ornaments, embroidery, quilted work, beads, corsage, burn-out and other techniques were used for expression.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.3-10
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• 2004

A built space reflects its society's philosophy, culture and technology of its time period. The study explores interrelation between Toey-Gae's 'Kyung' (Piety) philosophy and architectural designs of the 'Do-San' Sau-Dang (School). Toey-Gae is a leading scholar during Chosun Dynasty who built the Do-San School to teach and showcase Sung Confucianism. He is known for his teachings and practice of 'Kyung' philosophy in all aspects of his life including his work and designs. It is also known that he personally picked and purchased the land best suited to display spirit of 'kyung' philosophy while directing the base design and construction of the building. His attentions to details are evident in his choice of city, building site, and way he arrange his designs within the natural environment. Thus, we can safely presuppose the design of Do-San Sau-Dang was created following Toey-Gae's ideology in its buildings and environment. By examining Toey-Gae's philosophy of 'Kyung' through his writings, physical location and actual designs of Do-San Sau-Dang, we can understand how this ancient philosophical ideology and thoughts were translated to a physical form and its space. The study will also explore the importance of such ideology in the society at the time and how it influenced physical and mental activities of its people.

• 한국조경학회지
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• 제27권4호
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• pp.65-72
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• 1999

This paper tried to find out the various symbolic meanings and functions of landscape elements which Capital City of Shilla Dynasty contains, and what is the symbolism and identity of the city. Basically, this research took the thought of the place and the theory of cognition on landscape as a research tool, and undertook the process of surveying the physical surroundings of the city such as mountains, forests, tumuluses, mountain fortress walls, etc. Especially, the study referenced to a myth, thought, and a tale related to them of the surroundings. The research scope in time had been reached to the year of BC 57 which is beginning year of Shilla Dynasty form AC 467 which is year of introduction of new urban block system delivered from Dang Dynasty of ancient China. The results of research showed symbolic meanings of mountains and forests which is surrounding the Shilla capital from 4 directions of east, west, south and north. Namely, it was the places that the king of the kingdom of Shilla decent into the earth from the heaven. Also, the tumuluses which are located on the center of the capital imitated the surrounding mountains in forms, meaned the place that the dead king rised to heaven. All of these symbolized the Capital City of Dynasty as a sacred city which linked the heaven to earth, and earth to heaven. Finally, this paper suggested the Kyongju which is one of the most representative historic and tourist city in Korea should reflect this kind of symbolic meaning of ancient Capital City of Shilla Dynasty in case of arranging the urban identity plan to promote the quality of urban environment of Kyongju.

• 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.

• 동양고전연구
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• 제73호
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• pp.9-33
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• 2018

본 논문은 조선 중후기의 대표적인 소론(少論) 계열 인물인 곤륜(昆侖) 최창대(崔昌大, 1669-1720)를 대상으로, 문장을 위시한 문장론을 규명한 글이다. 최창대는 다양한 저술 편력을 보이고, 공적 사적인 문헌에서 당파(黨派)를 초월하여 공히 문학성을 인정받았기에 그의 문학을 연구하는 것은 유의미한 시도이다. 이에 최창대 문학 연구의 일환이자 그 기초적인 작업으로 그의 문장론을 규명하였는데, 2장에서는 그가 주장하는 문장의 효용론을 고찰하였다. 3장에서는 논의의 범주를 예각화 하였는데, 논의를 설정함에 한문산문사에서 쟁점이 되는 주제를 부각시켰다. 문장 효용론을 실질(實質)과 소통(疏通)의 추구라고 설정하였다. 최창대의 문장 효용론의 가장 큰 명제는 당대와 후대에 전할 만한 실질[가전지실(可傳之實)]을 세상 사람들과 소통하고 세상의 일을 해결해 나가는 것이었다. '재도지문(載道之文)'이나 '유덕자필유언(有德者必有)'과 같이 도(道)와 덕(德)을 담보하거나 명시하지 않고, 동시대 사람들의 뜻과 소통하여 당대의 급선무를 설정하고 이를 쉽게 이해시키는 철저히 현실적인 효용론이라고 규정할 수 있다. 한문산문사에서 '사달(辭達)'과 '수사(修辭)' 논의는 문예비평 측면에서 항상 쟁점이 되었다. 그 사이에서 최창대는 사달과 수사를 제로섬(zero-sum)으로 인식하는 상대적인 문장론을 초월하기를 주장하였다. 사달과 수사 논의 자체를 초월하여 명리(明理 이치를 밝힘), 택술(擇術 학술을 가림), 수사(修辭 말을 닦음)로 이어지는 문장론을 강조하였다. 또한 그 연장선에서 이치를 얻어 마음에 감응하는 것에 신중하며, 근본을 수립하고 학술의 취향을 올바르게 하는 문장 창작론을 제시하였는데, 이는 작가의 뜻을 우선시하여 자득(自得)을 중요시한 여타 소론계 문장가들의 창작론과 상통한다. 한문산문사에서 문장의 체제와 표현에 있어서 간명하고 요약함 그리고 험벽하고 기괴함을 논의하는 담론도 꾸준히 쟁점이 되었다. 이른바 순정한 고문(古文)이라 일컬어지는 당송(唐宋)의 문장이 전자라고 한다면, 선진양한(先秦兩漢)과 이를 내세운 이른바 명(明)나라 전후칠자(前後七子)의 문장이 후자라고 할 수 있다. 최창대는 원론적으로 간결한[간과(簡寡)] 문장을 중시하였다. 여러 자료를 통해 최창대는 철저하게 명대 전후칠자를 배격하였음을 알 수 있다. 외려 그는 문장에 있어서 한유(韓愈)와 증공(曾鞏)을 전범으로 삼았으며, "고문집성(古文集成)"에 수록된 작가들만 보더라도 당송(唐宋)의 문장가들이 대거 포진해있다. 그렇다고 선진양한의 고문을 일방적으로 배제한 것은 아니었고 선진양한과 당송의 문장을 공히 적극적으로 인정하였으니, 이 점은 부친 최석정(崔錫鼎)도 마찬가지였다. 이렇듯 최창대는 문장의 전범 설정, 문장 학습에 있어서 선진양한의 그것에 경도되어 있지 않고 당송과 선진양한을 고루 인정하되 험벽하고 기괴함보다는 간명하고 요약된 문체를 추구하였다고 할 수 있다.

• 복식
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• 제22권
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• pp.97-118
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• 1994

This stud is my second trial to examine the costume of Balhae Dyansty. The subject of this study is the costume of a bronze statue excavated in the Maritime Provinces of Russia. The bronze statue is in the custody of Vladivostok Museum E.V. Shavkunov a Russian archelogist reported it a statue of-ficial of balhae dynasty in the 7-8th century. Judged his report lack of basis I suggest new opinion on sex, age, married or unmarried. social position manufactured time of the statue by comparative study on the costume hair-style and appearance of the statue with around nations' antiquities. hair-style of the statue is basically included in Ssangge and complexed style of Sage Ssangsuhuange, and Guange, Generally, Ssangge is a hair style of children, unmarried women, court ladies, dancing girls, and instrument player (lady)s'. The statue wears round-necked blouse long skirt broad fabric belt at high waist broad sleeve and confront collar coat cloud shaped shawl and risen tip shoes. The figure of statue is de-scribed plump. The statue shows straight sil-houette and high waist typical style of Tang, Uddai, The most characteristic facto is cloud shaped shawl Cloud shaped shawl was originally one of the northern race's shoulder ornaments. From the view of Comparative study the antiquities of NamDang and JunChock are simi-lar to this statue. Besides Tsukanovka river where the statue was excavated is Kraskino ruins of a castle formed single cultural layer of Balhae Dynasty and are relics of the layer of Balhae Dynasty and are relics of the latter period of Balhae Dynasty. Therefore this statue is assumed to have been manufactured at the last years of Balhae Dynasty and to be a figure of unmarried woman not official.

• 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.