• 복식
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• 제66권1호
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• pp.1-12
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• 2016

Najang was the central Seori, affiliated to the Ministry of War during the Joseon dynasty. The objective of this study is to research the existing authentic Najang costumes from the late-Joseon dynasty by examining factors, such as the composition of the costume, size, and method of creation, and attempt to replicate it. The Leipzig Grassi Museum in Germany possesses an official uniform of Najang from the late-Joseon dynasty, and we visited the museum in May of 2013 to examine it for the study. Written records, or Uigwe, and other pictorial data from the Joseon Dynastry describe the Najang wearing black or navy clothing with white decoration and pointy hats. The most notable characteristic of the Najang uniform is that it has the cotton cords pattern. The hat has a brass ball attached, which was worn with the ball facing the front in the early Joseon Dynasty, and was worn facing the back in the later years. They usually wore black head cloths (Heuk-geon), but would attach feathers on the black hats (Heuk-rip) for special occasions. The Najang uniform preserved in the Leipsiz Grassi Muesim does not exist in Korea. It is made of cotton. The cotton cord pattern of the uniform of Najang was made using single-ply cords and double-ply cords. The hat worn by Najang is in a form of a cone that becomes narrower towards the top or is in a form with wide and open end. It was made of oiled paper covered with hemp, and two circular metal disks were attatched at the rear.

• 공연문화연구
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• 제36호
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• pp.169-184
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• 2018

이 글은 신재효 판소리 사설 <심청가>에 나타난 시간적, 공간적 배경의 중의적(重義的)인 의미를 밝힌다. <심청가>의 시간적 배경은 이야기가 자유롭게 이루어지는 허구적 낭만적 시간이며, 동시에 조선후기 서민의 고단한 삶의 사실적 역사적 시간이다. 아울러, 공간적 배경은 중국의 옛 도읍지와 조선의 서울을 중첩 연상시키면서 중의적인 의미를 갖는다. 특히, 공간적 배경인 남경은 가련한 백성의 딸인 심청이 '만백성의 어머니'가 되는 가상가공의 허구적 낭만적 공간이며, 조선의 '황성-경성-서울'을 연상시킨다. 바야흐로, 조선의 서울에서 만백성의 행복이 이루어지길 소망하는 판소리 향유층의 바람이 담긴다. 신재효 판소리 사설 <심청가>는 조선후기 사회상과 풍속을 바탕으로 하고, 중국의 시간과 공간을 차용하여 작품을 구체화한다. 이것은 중국을 배경으로 하면서 조선의 시간과 공간을 환기시키고 연상시킨다. 무엇보다, <심청가>에서 공간적 배경인 남경은 조선후기 신재효를 비롯한 만백성의 자유로운 상상(想像)의 나래를 펴기에 중의적인 최적지라고 할 만하다.

• 복식
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• 제66권5호
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• pp.133-148
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• 2016

This study examined dahoe(多繪-braided cord) and mangsu(網綬-ornament of husu for ceremonial dress) used in myeon gwan(冕冠), daedae(大帶), and husu(後綬) among royal formal dresses in the Joseon Dynasty(1392-1910) based on historical materials including literature, relics, and paintings. The results of this study are as follows. In myeon-gwan, dahoe was used for cap strings, goeing(紘) and yeong(纓). Cap strings were applied to the king, the Crown Prince, and the eldest son of the Crown Prince regardless of their status, and they showed differences among the periods. Both goeing and yeong were used during the early period of Joseon, and then only yeong was used in the late period. As goeing was removed and only yeong was used in the late period, patterns combining goeing and yeong, in color and wearing method, appeared. Dahoe used in cap strings is dongdahoe(童多繪-a kind of braided cord). In daedae, 'nyuyak(紐約)' was tied up to its fastening part. The material of nyuyak was changed from dongdahoe in the early Joseon Dynasty to guangdahoe(廣多繪-a kind of braided cord) in the late period, and the method of using it was also changed. Husu was imported from Beijing in China during the early period of the Joseon Dynasty, but in 1747, it was regulated to be woven in Joseon, and at that time, King Yeongjo attempted to restore the institution of weaving husu with "320 su(首)," namely, 6,400 strands as specified for the status of a prince of the Ming Dynasty.

• 복식
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• 제56권1호
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• pp.44-55
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• 2006

The purpose of this study is to examine the characteristics of man's boots in the Joseon Dynasty and compared them with those of the Ming and Qing Dynasty to find the influential relationships between them. Boots in the Joseon Dynasty are divided into several kinds such as Heukgwejapihwa, Hheuksapihwa(黑斜皮靴), Heukpihwa(黑皮靴), Mokhwa(木靴), Hyeopgeumhwa(挾金靴), Suhwaja (水靴子), Jeonpihwa, Gijahwa(起子靴), and Baekhwa(白靴). In addition, Jeong(精: footwear) was put inside boots. They tend to be named according to their materials or ornaments on them. First, Jeong put inside the boots is regarded as footwear for the comfort of the feet or protection against cold. Mokhwa appears in literature around the 19th century. As shown by remains and paintings of those days, it is considered to have become the common name of boots as it underwent many changes. On the other hand, a book in the era of King Gojong includes pictures of Suhwaja. Compared to Hukpihwa in the same book. The topside seems to have been raised in order to make the wearer who put on a military uniform feel comfortable when walking, since the bottom piece is hard. Baekhwa is worn not only with funeral garments but also with Sibok(時服), one of official uniforms. Boots in the Joseon Dynasty had been made following the design of the Ming Dynasty since official uniforms were conferred upon King Gongmin in the late Koryo Dynasty. But turning the late Joseon Dynasty its detailed design changed little by little. The topside of the boots became more round, the entrance part became wider, height of the shoes became taller, and the bottom piece became parallel to the ground.

• 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.

• 건축역사연구
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• 제28권5호
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• pp.7-18
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• 2019

The "Imwon Gyeongjeji(林園經濟志)", the largest encyclopedia of the Late Joseon Dynasty covers the details of the materials and construction methods related to everyday life's facilities. It is very useful to examine the "Imwon Gyeongjeji" for studying the materials and construction methods of the fences in traditional dwellings. Therefore, we tried to find the characteristics of the traditional fences exhibited in the "Imwon Gyeongjeji" by examining the construction methods shown in the book by structure of the fence. The results are as follow. First, the nine types of fence were listed in the "Imwon Gyeongjeji". Second, we could figure out the construction methods according to the structure of fences. The fence is divided into three parts: foundation, body, and roof. The body of the fence is a characteristic part distinguishing the types of fence. The foundation and the roof are related to the durability of the fence, regardless of the type of fence. The "Imwon Gyeongjeji" showed a robust manner in building fences than known today. Third, we found that the introductions and transformations of certain fence types. Fences such as Chuibyong(翠屛), Jeon Doldam(甎墻) and Bunjang were originated from China, yet has developed unique Korean styles in Joseon. It could also be seen that Kajo Zhang(哥窯墻) and Yonglong Zhang(玲瓏墻) were special fence types imported from China. It is not certain that the fences depicted in the "Imwon Gyeongjeji", represent the whole features of Joseon fences, but it is certainly an important literature to understand the structure and design of traditional fences of the Late Joseon Dynasty.

• 복식
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• 제58권5호
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• pp.118-133
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• 2008

The basic costumes of the joseon dynasty such as pants and jackets were not particularly distinctive over the period in comparison to po. The coat that was worn over pants and jacket, however, had different forms in the course of the joseon dynasty. In this paper, I will analyze the changing style of pyeonbokpo, the daily costumes of Joseon man, which were excavated in recent years. Changes in the collar style were the most distinctive of joseon pyeonbokpo such as cheolik, dapho, aekjueum, jikryeong, daechangyeui, jungchimak, and juyeui. Although pyeonbokpo had double collars in the early joseon dynasty, they disappeared in the seventeenth century: a straight line also replaced by a curve for the collar perimeter. Front-adjusting of pyeonbokpo was very deep in the early joseon dynasty; front-adjusting became simple in the late joseon dynasty, resulting in the central positioning of a ribbon. The rectangular form of a gusset(mu) was stitched to the bodice through various pleats. Gusset patterns changed greatly into various forms in the seventeenth and eighteenth centuries, along with the ladder gusset form. The long vest(dapho) was half-sleeved and had a deep front adjustment in the early joseon dynasty; however, it did not have collars and sleeves since the eighteenth century. The waist line of cheolik had the ratio of 1.2 to 1 for the bodice to skirt. But the length of skirts grew gradually into the ratios of 1 to 1, 1 to 2, and 1 to 3.8 while the waist line moved upwards to the chest line. Sleeves of all po had a straight form but they gradually developed the tendency to widen towards the wrists. Later, sleeves changed again, having a wide rectangular form starting from the armpits. Cheolik was widely worn in the early joseon dynasty; however, it was worn less in later years. Instead, clothes that had slits such as dopo, daechangeui, and jungchimak were greatly available. These characteristics of the change in men's costumes enable us to measure the time period of excavated findings despite the lack of records for Joseon graves.

• 헤리티지:역사와 과학
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• 제50권1호
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• pp.78-117
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• 2017

조선 전기 줄곧 탄압의 대상이 된 불교는 임진왜란 때 승려들의 승병(僧兵)으로의 참가로 국가로부터 일정한 인정을 받게 되었다. 그러나 한편으로 그 결과의 하나는 많은 사찰들의 소실이란 참화였다. 이에 조선 후기에 들어 사찰의 재건이나 중수를 위해 승려들 스스로가 '${\bigcirc}{\bigcirc}$사(寺) 건립패(建立牌)'란 걸립 풍물패를 만들어 활동했다. 이러한 이른바 '절걸립패 풍물'은 그 이전부터 있었던 광대들이나 일반 농민들의 정초 집돌이농악 같은 걸립풍물을 흉내낸 것이었다. 조선 후기 절걸립패 풍물의 활동은 전국적으로 이뤄져, 오늘날에도 경북의 빗내농악, 전남 여수, 강진 일대의 '버꾸놀이', 경기 강원 충청의 절걸립패 고사소리, 경기 충청지역의 남사당패의 존재 등으로 그 분명한 모습들을 보여 주고 있다. 이러한 농악들이나 농악과 관계되는 것들에 조선 후기 절걸립패 풍물의 모습들이 분명한 형태들로 남아 있는 것이다. 한편 조선 후기 절걸립패 풍물의 활동이 전국적으로 이뤄졌음에도 불구하고, 조선 후기 절걸립패의 연장에서 생긴 남사당패가 오늘날 경기 충청지역에만 남게 된 것은 조선 후기에 경기도지역의 사찰 건립이 특히 많이 이루어졌기 때문이다. 조선 후기에 들어 전국적으로 또 오랫동안 이루어진 절걸립패 풍물 활동은 종래의 풍물에 많은 영향을 미쳤다. 우리나라의 풍물에서 흔히 볼 수 있는 고깔, 종이꽃, 색띠, 소고, 바라 등 불교적 요소들이 그러한 것들이다. 조선 후기 절걸립패 풍물은 우리나라 풍물사에서 분명 중요한 위치에 있다. 이에 대한 조사 연구들이 앞으로 보다 본격적으로 이뤄져야 한다.

• 건축역사연구
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• 제25권6호
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• pp.61-72
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• 2016

This study is about the structure and transition of orthogonal design of palace architectures in Joseon Dynasty. The results are as follows. First, Changdeokgung and Changgyeonggung Palaces' corridors, and their architectures seen in the Court Documentary Paintings have early Joseon style in the corner-connections. Their roof shape in the corner is gable roof. Generally, gable roof has direction. Besides, it is easy to extend gable sides. Second, Corridor of Gyeongbokgung Palace has hipped and gable roofs with corner eaves. It was popular during the late Joseon Dynasty. On the other hand, it is impossible to extend any sides of those roofs since they have roof faces in their four sides. Instead, they have completeness. That's why their aesthetic appeal exhibits more pleasing than gable roofs. Third, corner-connections of palace architecture shows evidences and traces of the transition from gable roofs meeting at right angle in the early Joseon to hipped and gable roofs meeting at right angle with corner eaves in the late Joseon. Also, the corner-connections with corner eaves were usually used even in the attached architectures.

• 한국의사학회지
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• 제27권2호
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• pp.75-83
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• 2014

This study investigated the various editions of Huangjenaegyeongsomun (黃帝內經素問) published in the Joseon Dynasty. Only study for on Eulhae metal type (乙亥字) Huangjenaegyeongsomun and bibliography research of some holding institutions are the existing research on this topic. The conclusion of this paper is as follows. 1. The 14 and 15-volume book are existing most common versions of Huangjenaegyeongsomun (黃帝內經素問) published in Joseon Dynasty. The two books were corrected by Naeuiwon (內醫院). According to this study, the latter is more early than the former. But in the study of the past were not made clear distinction between the two books. 2. The 15-volume book of Huangjenaegyeongsomun (黃帝內經素問) was published in the mid-18th century between the first half of the 19th century. 3. A Wooden print editions Huangjenaegyeongsomun (黃帝內經素問) about Japanese invasion of Korea in 1592 ago have been investigated holding institution. 4. The Gyeongju-published Huangjenaegyeongsomun (黃帝內經素問) is estimated that in the mid Joseon Dynasty, This edition has been estimated that the late Joseon Dynasty far.