• 복식
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• 제58권5호
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• pp.87-101
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• 2008

The purpose of this study is to identity the representative flower patterns in the Joseon Dynasty and investigate their chronological transitions. In the early Joseon Dynasty (i.e. 16th century), lotus patterns were very popular. Often lotus patterns were twisted around by ivy-leaves or decorated with treasures pattern in the margin. In the mid Joseon Dynasty (i.e. from 17th to mid 18th century), however, lotus patterns evolved from the typical lotus and ivy pattern and diversified into four types. In the 19th century, lotus pattern almost disappeared from the textiles of everyday dresses and were only found in the textiles of formal dresses or in special cases as in the cover pages of Buddhist scriptures. Poeny patterns was rarely used in textiles of 16th century, presumably because of the huge popularity of the lotus pattern. However, suddenly in the 17th century, Poeny patterns appeared quite frequently. There were 3 types of Poeny patterns. Poeny patterns became more popular over the years and it finally became a primary motive in textiles patterns for 100 years starting in the late 19th century. There were two types of Poeny patterns : one was realistic and true to life even in sizes, the other was more symbolic. Textile patterns combining four kinds of flowers started to appear from the late Koryo Dynasty but Flower patterns representing four seasons with distinct shapes appeared only in the 17th century. They could be categorized into three types. In the late 18th century, Flower patterns representing four seasons no longer appears in textile patterns, presumably due to a new preference for lucky omen over natural motives.

• 한국시조학회지:시조학논총
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• 제22집
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• pp.195-223
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• 2005

연시조는 몇 개의 시조가 하나의 제목 아래 유기적으로 연결되어 있는 시가의 형태로 시조의 하위 범주에 속한다. 우리 시가사에 연시조가 본격적으로 등장한 것은 16세기이다. 이 시기는 사대부 문학이 중심이 되던 시기로 단형시조와 연시조, 그리고 가사가 함께 불려졌다. 그렇다면 왜 동일계층이 서로 다른 양식으로 노래하게 되었는가라는 의문이 생기게 된다. 이 논문은 이러한 궁금증으로부터 출발한다. 따라서 연시조의 성격을 단형시조와 가사와의 관계 속에서 파악하고자 한다. 논의를 전개함에 있어서는 16세기 작품을 대상으로 삼는다. 연시조는 성리학의 발전과 함께 발전하게 되는데, 16세기는 성리학이 크게 성행하였던 시기로 연시조 또한 그 기틀을 마련하게 된다. 그 후, 17세기에 이르러 다수의 연시조가 창작되는데, 17세기의 작품이 16세기의 작품을 토대로 계승$\cdot$발전하는 만큼 16세기 작품의 중요성을 간과할 수 없다. 16세기 연시조는 강호시조와 훈민시조의 두 방향으로 발전하게 된다. 강호시조에는 육가의 전통을 이어받는 육가계 연시조와 사시가의 전통을 이어받는 사시가 계 연시조가 포함되며, 훈민시조에서는 오륜의 질서 및 사회규범 등을 노래한다. 본고에서는 이를 토대로 <도산십이곡>과 <고산구곡가> 그리고 <훈민가>를 대상으로 16세기 연시조의 성격을 논의하였다 그 결과 이들은 모두 효용적 가치를 목적으로 한다는 공통점을 지니는 것으로 나타났다. 단형시조와 가사를 논의함에 있어서는 송강 정철의 작품을 중심으로 논의하였다. 한 작가를 대상으로 한 것은 논의의 전개를 위해서는 동일 잣대가 필요하기 때문이다. 송강은 단형시조와 연시조, 가사를 모두 제작한 경우로 서로 간의 변별성이 잘 드러날 것으로 기대한다. 그 결과 단형시조와 가사는 개인의 정서적 미감을 노래했다는 공통점을 보이는데, 그 중에서도 단형시조는 정서의 함축이, 가사는 보다 심층적인 정서를 드러내는 데 적합한 것으로 나타났다. 요컨대 연시조는 성리학자의 이념을 담아내기에 적합한 시조를 노래하되, 시조가 3장으로 시상을 완결하여 그들의 효용적 가치를 충분히 전달하기에 적합하지 못한 단점을 보완하기 위해 연시조를 택한 것이라 하겠다.

• 패션비즈니스
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• 제18권3호
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• pp.117-133
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• 2014

This thesis aims to investigate the morphologic relationship among the neckline, collar, and hair style, in which the width and height were measured by selecting the representative costumes from 16th to 19th centuries. The pieces of 170 pictures selected by fashion experts were cut in the same condition, with the part of the end of shoulder, head, and chest all placed on the equal level. The products were directly measured by a team of 3 specialists for verification of this study, of which results were calculated into average. The values of output were categorized into the unit of decade and finally into a graph of variation, in which the trend and relationship were evaluated according to the width and height. In 16th century, the width and height of the neckline were inversely proportional to those of hair style, while those of collar were proportional to those of hair style. In 17th century, the width and height of the hair style were proportional to those of neckline and collar. In 18th century, those of the neckline were inversely proportional to the hair style, with no collar found. In 19th century, the width of the neckline and collar were proportional to that of the hair style, while the height of the neckline and collar were inversely proportional to that of the hair style. The analysis of the morphologic relationship among neckline, collar, and hair style resulting from this study revealed that the change of the hair style took place corresponding to those of neckline and collar. Generally, the width of the hair style was found to be more resistant to change, compared to those of neckline and collar that were more susceptible. The height of the neckline was more resistant to change, compared to those of the hair style and collar presenting their frequently fluctuating height. Conclusively, the factor of height rather than that of width showed more dominant proportions, because the various forms of the collar and hair style evolved in terms of the height rather that width, relative to that of the neckline.

• 복식
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• 제58권5호
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• pp.102-117
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• 2008

This study shows the badge system for military officials of Joseon dynasty. The badge system for military officials of the 15th century consists of rank badges with tiger and leopard for the first and second ranks and rank badges with bear for the third rank. According to the code of laws, military officials are supposed to wear the rank badges with four different kinds of animals in Joseon dynasty. However, the badge system shown in the code of laws sometimes does not match with the badges in practices. Based on the literature, remaining badges and the badges in portraits, six different kinds of badges with animals are found : First, rank badges with tiger and leopard were used until the late 16th century. Second, rank badges with tiger were found in the period between the early 17th century and the latter 18th century. Third, rank badges with Haechi were found in the early 17th century. Fourth, rank badges with lions can be found in remains of the mid 17th century, the literature and the portrait of the late 18th century. Finally, the rank badges with double leopards or with single leopard were found from a portrait dated the late of 18th century to the last period of Joseon dynasty.

• 복식문화연구
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• 제19권5호
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• pp.1102-1118
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• 2011

The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for the future education of the department of movie costume design. For a study method, literature relating to movie costumes and underwear as well as captured images from 29 historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century was reviewed. Among them, data from 17 movies where underwear and crinoline were observed was analyzed. Historical movies, set in the $18^{th}$ century Europe exposed underwear more frequently and decisively than movies set in the $16^{th}$ and $17^{th}$ centuries. For the figure wearing underwear, its expression effect was maximized by the implication function of costumes. Underwear can easily express the time and space background and symbolize the character's social and economic position, attitudes, and values. In addition, the exposure of underwear can reveal characters' internal expressions, such as mental status, taste, temper, intention, mood, time and space display. The result of observing the underwear shown in movies reveals that underwear plays a subjective role in expressing ideal femininity as a woman of a particular age, modesty, social position symbolism and eroticism that depended on the situation. It is expected that the study will provide an opportunity to reconsider the function of underwear, which is different from the meaning of costume history, and its role as a means of communication by considering the change of underwear by age.

• 동양고전연구
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• 제37호
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• pp.279-306
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• 2009

본고의 목적은 한글 간찰을 대상으로 상투적인 표현을 고찰하는 데 있다. 한글 간찰의 상투적인 표현은 한글 간찰의 격식(格式)의 완성과 더불어 16세기에서 17세기에 이르는 과정에서 그 기틀이 마련되었다. 한글 간찰의 상투적 표현은 서두(書頭) 부분과 결말(結末) 부분에서 중점적으로 쓰였다. 서두에서는 호칭(呼稱)과 안부인사(安否人事)에서, 결말(結末)에서는 결말인사(結末人事)와 결귀(結句)에서 많이 쓰인 것을 알 수 있었다. 호칭 상투적 표현은 16세기의 <순천김씨언간>이나 17세기의 <현풍곽씨언간>에서는 서두의 자리에 고유어 중심의 상투적인 표현이 쓰였으며, 19세기의 <징보언간독>에서는 서두의 자리에 한자어 중심의 상투적 표현이 쓰였다는 점이 달랐다. 안부 인사의 상투적 표현에서는 답상(答狀)의 경우 '유무 보고' 같은 상투적 표현이 덧들어간다는 점에서 기상(寄狀)의 표현과 달랐다. 16세기의 <순언>에서 상투적 표현으로 점차 자리 잡아 가는 과정을 포착할 수 있었고, 17세기의 <현언>에서는 고유어 중심의 상투적인 표현이 하나의 정형(定型)을 이루게 된 것을 알 수 있었다. 다만 19세기의 <징언>에서는 <현언>의 고유어 중심의 상투적 표현이 오히려 한자어 중심의 상투적 표현으로 대체된다는 점이 특이하였다. 결말 인사와 결구 표현도 안부 인사 표현과 같은 양상을 보이고 있음을 알 수 있었다. <순언>보다 <현언>의 결말 인사와 결구 표현이 훨씬 단순화되어 반복적으로 쓰임으로써 상투성을 확보하는 것을 파악할 수 있었으며 아울러 <징언>에서는 오히려 한자어 중심의 번역체로 바뀌고 있음을 알 수 있었다.

• 대한수학교육학회지:수학교육학연구
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• 제24권3호
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• pp.409-428
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• 2014

본 연구는 조선산학의 내용적 변화가 관찰되는 17-18세기에 초점을 맞추어 조선산학의 교육과정적 특징을 살펴보고 그 교육적 의미를 탐색하였다. 문헌분석 결과, 17-18세기의 조선 산학교육에서는 실용적 차원뿐 아니라 심성함양 차원의 목적이 존재하였으며, 교수 학습방법과 평가 항목에서는 15-16세기와 비교하여 큰 변화가 없었다. 반면 내용 체계에서는 위계성이 강화되고 기하 영역의 비중이 높아지는 변화를 보였다. 또한 이 시기의 조선산학서에서 유럽수학의 유입을 확인하였으며, 중국산학의 영향권에서 조금씩 벗어난 조선산학의 고유성의 면모를 관찰하였다. 이와 같이 이전 시기와 차별화되는 교육과정적 특징들이 다수 관찰되는 17-18세기는 중국산학에 대한 비판적 수용과 조선산학의 고유한 발전이 있었던 시기라고 할 수 있다.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2001년도 19th International Costume Association Congress
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• pp.44-46
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• 2001

• 헤리티지:역사와 과학
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• 제36권
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• pp.313-334
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• 2003

Historically, hawking/falconry refer to the hunting for pheasants, birds and hares using a hawk. In spite of its long history, not so many studies were found and/or have been performed. Examining researches, hawking has been enjoyed solely by the royal families until the early Joseon Dynasty but it has been popularly spread among the people in the 18th century, emphasizing recreational factors of it. The researches, however, dealt only with the limited data published by the government while a diary, Swaemirok written by Oh Hi-Mun, an intellectual in the 16th century noted the realities and characteristics of hawking at that time. According to the diary, hawking has been spread all over the country in the 16th century and the people as well as the royal families enjoyed it. The hawking season has been continued for a year except for summertime trees and plants grow thick. For the hawking, they need to be permitted officially or under a tacit consent. In those days, beef and pork are very rare. A peasant acted as, therefore, an excellent alternative and was served up for a religious service. In view of the truth, it could be stated that peasant-hawking was important for recreational activities as well as for their living.

• 복식문화연구
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• 제8권2호
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• pp.205-216
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• 2000

The purpose of study examined of historical changes of western men's nightclothes from middle ages to the modern ages and analyzed functions and features of men's nightclothes. This study presented meaning and importance of men's nightclothes. The method of study researched the many literatures and internet sources. Until medieval age, men slept naked or in a day-shirt. In the 16th century, a nightshirt was worn in bed. A night-cap was usual, in rather more elaborate form, also worn by day in the house, and even outdoors. In the 17th century, nightshirt was elabrated with ruffles and lace. The nightshirts of 18th century, resembled the day-shirt except that it was slightly longer and fuller in cut. The turn of 19th century, men weared nightshirt with a high folding collar, one button and night-cap of jellybag shape. In the early 19th century, nightshirt had a plain turned-down collar, buttoned at the neck. A night-cap with colored tassel was usual. The middle of 19th century, a nightgown was reaching to the ankle. Pyjamas, in the 1890s, were steadily replacing the nightshirt, before long pyjamas had become generally accepted in place of the nightshirt. A pyjamas which preseverved his male dignity by giving him trousers. Man's ingenuity also modified his nigntclothes so that these took on sexual characteristic. In 20th century, the fabrics had become lighter in weight, and the choice of materials wider. By 1930s, nightclothes had become the man's most colorful garment.