• 건축역사연구
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• 제26권2호
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• pp.15-29
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• 2017

The purpose of this study is to comprehend strengthening Hwaban(flower-shaped support) design in the Two-lkgong style government buildings in the late Joseon period through the T-shaped wooden shrines, the architectures of royal palace and royal ancestral shrine. Following conclusions have been reached through the study. First, Janghwaban(the long plate carved with flower-shaped support) was installed in Injeongjeon(1805) for the first time. It took 40 years to introduce Janghwaban to the government building of Two-lkgong style compared with Injeongjeon. Second, the quantity of Hwaban had been increased from 1 to 5 for 300 years in the government building of Two-lkgong style. This had been steadily increased with the aim of strengthening design. Third, there was a limit to the increase in the quantity of Hwaban. The first reason was to control the rhythm between the Hwaban and the Pobyeok(the wall between Hwabans). The second reason was that if the Pobyeok was too narrow, it was difficult to plaster. The latter was solved by introducing the Janghwaban. Fourth, in attempting to stylize differently from Jusimpo(simple bracket system), the quantity of Hwaban increase played a very important role in the government building of the Two-lkgong style. Since the reconstruction of Gyeongbokgung Palace, Hwaban combined style with Ungong served as the norm of the royal palace architecture in the last Joseon period.

• 한국산학기술학회논문지
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• 제18권5호
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• pp.200-210
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• 2017

본 연구는 조선후기 병서 중 "이진총방"의 진도(陣圖)를 바탕으로 고전 진법의 기본모형(陣形)을 재구성하여 진법의 구성원리와 운영체계를 분석하였다. 연구방법은 고전진법의 기본인 방진(方陣)을 토대로 원진(圓陣), 직진(直陣), 곡진(曲陣), 예진(銳陣) 등의 오방진(五方陣)과 현무진(玄武陣), 팔진(八陣), 육화진(六花陣), 구군진도(九軍陣圖) 등 진법의 운영체계를 재구성하여 비교분석 하였다. 분석결과, 모든 진법의 운용은 기본적으로 방진에서 출발하되 정사각, 직사각, 오각형 그리고 원형의 형태로 변형되고 있음을 확인하였다. 또한 진법 내부의 진용 구성은 5가지 선형을 활용하는 바 직사각, 정사각, 대각선, 곡선, 원형 등 5가지 동선체계로 이루어져 있음을 확인하였다. 연구대상인 원진도는 기본방진에서 2중 원의 선형으로 동선체계를 갖추고, 예진도는 기본방진의 편성대열에서 여타 진법보다 최소의 동선거리로 공격적 선형을 갖춘다. 곡진도는 방패형 2중진 형태로 이동동선을 유지하고, 현무진도는 거북모양의 진형으로 좌우 균형의 5각형 동선을 형성한다. 육화진은 원이 지니는 회전력을 무기로 삼는 진법으로 좌우 및 상하 대칭으로 원주율이 같은 여섯 개의 원형동선을 형성하여 꽃잎모양의 선형(線形)을 갖춘 형태이다. 구군진도는 육화진도에서의 원형 대신 9개 정사각형 선형(線形)을 갖추는 방식이다. 팔진도는 정사각, 직사각, 십자형의 3가지 선형으로 14개 진형을 형성하며 면과 선, 외곽선과 대각선의 중층적 3중 방어체계를 갖춘 동선체계이다. 연구 성과는 군사적인 면에서 진법의 실체를 규명함으로써 조선시대 전투양상의 실체를 파악하게 해주면서, 현대전에서 병사들의 훈련에 활용가능한 병법의 유형을 제시한 점에서 군사적, 학술적 가치를 지닌다.

• 건축역사연구
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• 제32권2호
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• pp.37-48
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• 2023

A literature study was conducted on the management of the pavilion of the royal tomb in the late Joseon Dynasty, focusing on "Gakneung Suri Deungnok(Records relating to the repair of royal tombs)". This study analyzed the royal tomb management system, organized the types of damage identified in the building, and examined how the damage status was recorded by type. In the above, the records related to the 1675~1713 repair of three JeongJaGak(Geonwonneung, Sungneung, and Mokneung), which are registered as state-designated cultural properties, are summarized in three aspects: management system, damage status, and expression words. The results of the study are as follows. First, the royal tomb pavilion was regularly inspected by Observator(觀察使) in spring and autumn, and Surunggwan(守陵官) every 5th, and Servant(守僕) regularly inspected every day and night, and also inspected and reported emergency cases of natural disasters or unexpected damage. Second, the damage status of each building was continuously observed and reported for the continuous maintenance of the buildings in the royal tomb. A total of 75 records of damage to the three royal tombs' pavilion were found to have been most frequently inspected, including 19 cases (25.3%), 14 cases (18.7%), 23 cases (30.7%) of the roof, and 19 cases (25.3%) of the roof. Third, the expression of the damage status is confirmed in various ways, such as separation, separation, burst, damage, excitation, moisture, leakage, and exfoliation. Among them, the main damage records were confirmed due to the separation of the base from the peeling, the furniture, cracks, leaks, leaks in the roof, and the collapse of the roof was able to check the damage records.

• 한국가구학회지
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• 제28권3호
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• pp.207-223
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• 2017

Jeonju-Jang is the wood furniture that was made in Chonbuk Jeonju province during the Joseon Dynasty, and was used by middle-upper social classes. It has value as a local cultural heritage because it has unique characteristics in terms of the shape of the furniture, the metal ornament and various functions are integrated in accordance with user's requirements. Therefore, the purpose of this study is to define the structural characteristics of the Jeonju-Jang through case studies of 16 existing artifacts in order to preserve and inherit the value as local cultural resources. The conclusion is as follows. First, Jeonju-Jang in the late period of Joseon Dynasty that is made up of one board to the bottom with the binding of the board. and the front wall, the Juibyuckkan and the Meoruemkan are omitted or made small, so the structure of the surface is simple. There are three or four drawers under the Cheon pan(top plate). There are drawers and shelf inside the hinged door. In the case of a two-layer type, there is a Gaegumeong type door which has half of one side hinged. Second, Jeonju-Jang of the Japanese Ruling Era had a Juibyuckkan by frame binding and an increase in the number of Meoruemkan. and it had independent legs. The Cheon-pan(top plate) was more left and right than both sides. Third, in the late Joseon Dynasty period as a feature of the metal ornaments, cast iron and yellow brass were used as materials. In the Japanese Ruling Era, nickel was mainly used. Various patterns were engraved and the number increased, and it became gorgeous surface as a whole.

• 건축역사연구
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• 제32권3호
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• pp.77-88
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• 2023

In the late Joseon Dynasty, the floor of the royal palace was covered with grass mat called ji-ui. Ji-ui was produced by connecting several mats named seokja(席子) and trimming the edge with narrow fabric named seon(縇). The standard manufacturing technique was to connect the shorter sides of the seokjas by overstitching them. A room was covered with either single or multiple ji-uis, depending on the case. In the case of the main and the subsidiary halls (jeong-jeon and pyeon-jeon, respectively) where the king conducted official meetings with the civil servants, multiple ji-uis were laid out to signify the division of space, which reflected the ceremonial aspects of the governing acts. The most essential division was the distinction of yeong-wae(楹外) and yeong-nae(楹內), with the jeon-goju (a tall frontal pillar inside the hall) functioning as the breakpoint. Jeong-jeon was divided into four spaces each covered with one ji-ui: yeong-nae, yeong-wae, and the left and the right sides of the royal seat named jwa-tap(座榻). Pyeon-jeon was covered with three ji-uis that divided the hall into three spaces: yeong-nae, yeong-wae, and hu-twae(後退) (the hind section) where the royal seat was placed on.

• 동양고전연구
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• 제34호
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• pp.113-132
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• 2009

본고에서는 고려시대 이규보의 <슬견설(蝨犬說)>을 비롯하여 시기적 순서에 따라 조선 전기에 곽열의 <노인탐슬변(老人探蝨辨)>과 조선 후기에 유신환의 <소유(小喩)>와 허전의 <잡설(雜說)>을 중심으로 '이'가 어떤 의미로 형상화되고 있는지를 살펴보았다. 이규보는 <슬견설>을 통해서 크고 작은 것에서 오는 편견을 버리고 작은 미물들도 큰 동물과 마찬가지로 느끼고 생활한다는 것을 주장하였다. 이규보의 <슬견설>은 크기에서 오는 편견을 극복한 작품임을 규명하였다. 곽열은 <노인탐슬변>에서 몇 십 년 더 인생을 산 사람의 연륜이 중요함을 지적하고, 늙은이의 지혜가 때로는 젊은이보다 낫다는 주장을 하였다. 내용을 분석한 결과 곽열이 노년에 자신의 처지와 심정에 대해 비유적으로 서술한 작품으로 추정하였다. 유신환은 <소유(小喩)>를 통해서 각자의 행동에 대해 나름대로 이해를 해주며 스스로 인식하기를 바라고 있으면서도 그 근본을 잊어서는 안 된다는 것을 역으로 주장하였다. 유신환의 <소유(小喩)>는 봉서자와 동자의 문답을 통해서 인간이 자신의 근본을 잊고 사는 것을 경계한 작품임을 밝혔다. 허전은 <잡설>에서 '이'의 생태를 설명하고, '이'가 사람에게 끼치는 죄가 무엇인지를 서술하였다. <잡설> 후반부에서는 '이'보다 인간이 더 나쁜 존재이고 임금과 간신을 '이'에 비유하여 설명하고 있어 혼탁한 시기에 충신이 없음을 역설적으로 설명하고 있는 작품임을 밝혔다.

• 한국의류학회지
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• 제31권8호
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• pp.1190-1201
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• 2007

This study is to review the costumes of female Shamans through Gamrotaenghwa(甘露幀畵) in the late Joseon Dynasty of the 18th and 19th centuries. The picture of Mudangnaeryeok(巫堂來歷) showing Shamanic performances which is kept in Kyujanggak, Seoul National University was the only one thing enabling to compare with the Shamanic costumes shown in Gamrotaenghwa. The earlier Gamrotaenghwa doesn't show the Shamanic features but that of the later part of 18th century shows specific costumes so that the scene of Shamanic performance can be guessed. The Shamanic costumes are classified into 5 types. Type A is considered to have followed the figures shown commonly in earlier Gamrotaenghwa of the 16th and 17th centuries, rather than the traditional costumes. Types B through E show the costumes of the Joseon dynasty. With the basic costumes of skirt and Chogori(a kind of jacket, Type B), the variable costumes worn for each type of Shamanic performances are Mongduri(蒙頭里, Type C), Jeonbok(戰服, Type D) and Cheolrik(天翼, Type E). Reviewing the general style of those costumes, the upper part was tight and the lower part was silhouette of big volume, and the length of Chogori was a little long in the early of 18th century but it became shorter with narrower sleeves from the later part of the same century. According to the general literatures about the outer collars were not overlapped and its side parts were open, with half or no sleeves. In case that the target of Shamanic performance is male god, the Shaman wore the male costumes represented by Cheolrik and Jeonbok. Because these Cheolrik and Jeonbok which were worn during the Shamanic performance have the symbolic meaning to correspond with the male god, they didn't function as ordinary costumes.

• 복식
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• 제62권7호
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• pp.54-66
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• 2012

This research analyzes the late Joseon's variously developed characteristics of women's underwear and its formative elements, and ultimately aims to apply such characteristics to designing modern outfits. The main purpose of the presented work is to give guidelines on utilizing the fashion legacy in a various way, and inheriting the traditional concept of beauty by developing it into modern fashion designs. The designing and producing of the work is based on the analysis of previous researches, genre paintings, and traditional costumes in museums. Based on this research, the application of traditional underwear design to today's outfits involves the following points. First, the presented work features the formative outlines of traditional underwear as an inspiration for outer garments. Secondly, various traditional textiles are used such as ramie fabrics, damask silk, silk fabrics, fur, etc. for four seasons and they are turned to practical use for modern outfits. Third, colors of choice are white and low saturation colors to create an elegant and serene atmosphere. Finally, traditional sewing techniques are specifically applied to modern fashion designs. Included are: Nubim technique, Gob-sol technique, and the patching method. This work pursues the design of practical use by tying up clothes with straps and knots to prevent them from falling off.

• 한국가정과교육학회지
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• 제34권2호
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• pp.115-128
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• 2022

본 연구는 조선왕실의 기록 문헌을 이용하여 소선 사례의 빈도, 식재료, 상차림 및 조리법 등에 관하여 알아보고자 하였다. 『조선왕조실록』 데이터베이스를 활용하여 조사한 소선 사례는 186개가 나타났다. 의례별 사례 빈도는 흉례가 전체 의례의 61.82%로 가장 많았고, 길례(21.51%), 빈례(11.29%), 가례(5.38%)순으로 나타났다. 소선 사례 횟수는 조선 전기(68.82%)가 조선 후기(31.18%)에 비해 높게 나타났다. 소선 식재료 목록을 살펴본 결과, 곡류는 밀가루, 메밀가루, 점이 있고, 두류는 황대두, 포태, 전시가 있으며, 해조류는 다시마, 김, 미역 등이 있었다. 버섯류는 표고, 석이가 있고 양념류로는 겨자, 참기름, 실임자 등이 있었다. 길례와 흉례의 소선 상차림의 주요 음식은 주식이 밥, 면, 부식류는 탕과 채, 적, 개장, 후식류는 유밀과와 산자, 다식, 정과, 떡, 과일로 나타났다. 주요 음식의 경우 밀가루, 두부, 해조류, 버섯, 잣, 참기름, 꿀 등의 식재료를 이용하여 조리되었다. 특히 두부, 밀가루, 해조류 등은 불교적 내용과 관련하여 문헌에서 언급되었다. 본 연구 결과는 소선이 조선시대로 전승되면서 불교의 영향을 받은 채식 문화의 형태란 것을 보여주며, 조선시대 왕실의례의 불교음식문화 연구를 위한 기초자료로 활용될 수 있을 것으로 기대된다.

• 박물관보존과학
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• 제20권
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• pp.61-76
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• 2018

국립중앙박물관 소장 피갑 유물의 전시와 안전한 보호를 위한 보존처리를 진행하기에 앞서 갑옷의 특징과 종류를 파악하여 안전하고 정확한 보존처리의 기초자료를 위해 이론적 연구를 실시하였다. 연구 결과 첫째, 갑옷의 명칭은 색, 재료, 신분, 갑옷의 부위까지 함께 나열하여 세부적인 특징의 차이에 따라 기록하였다. 명칭을 표기하는 순서는 대부분 색상과 직물, 다음으로 철이나 가죽 등의 재료가 나열되며, 앞부분은 의(衣), 뒷부분은 갑찰의 재료, 또는 신분만으로 명칭을 기록하였다. 둘째, 갑옷에 사용된 재료는 직물, 가죽, 금속이며, 철갑(鐵甲), 피갑(皮甲), 지갑(紙甲), 엄심갑(淹心甲), 단갑(緞甲)등으로 분류할 수 있다. 셋째, 갑옷의 구조와 착장방법에 따라 크게 4가지의 유형으로 나뉘며 국립중앙박물관 소장 피갑 4점은 그 중 임진왜란 이후부터 19세기 말, 20세기 초까지 입혀진 보편적 양식인 포형(袍型) 갑옷 양식에 포함되며 보군(步軍)이 착용하였던 갑옷임을 확인할 수 있다.