• Digital Contents
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• no.2 s.153
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• pp.102-105
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• 2006

지난 2003년 9월부터 이듬해 3월까지 MBC-TV에서 방영되며 국민드라마로 자리 잡았던 <대장금>이 애니메이션으로 새롭게 태어났다. 지난해 10월 29일 첫 방송을 시작으로 현재 매주 토요일에 방영되고 있는 대장금의 애니메이션 버전 <장금이의 꿈>은 장금이가 궁녀가 되기 전부터 정식 궁녀가 되기까지의 과정을 그린 작품으로 꿈을 이루기 위한 장금이의 동분서주한 수라간 이야기를 다루고 있다. 특히 조연급 캐릭터들의 액션씬을 가미해 영상에 활력을 주고, 의상과 배경 등은 가능한 현대적 조화를 꾀해 볼거리가 풍성하다. 동양의 신비함과 보편적 사상을 최대한 부각시킨 이 작품은 해외 판매와 부대사업에 주력하고 있다. 최근 들어 NHK 자회사인 MICO(Media International Corporation)와 수출계약을 체결하고, 오는 4월 NHK 지상파를 통해 방송키로 합의하는 등 이미 그 결실을 맺고 있다. 캐릭터 완구사업, 출판 및 DVD사업, 캐릭터 상품화 사업, 모바일 게임사업, 케이블 및 위성 DMB사업 등 부가사업도 활발하게 전개하고 있어 진정한 ‘윈소스 멀티유즈’를 실현하고 있다.

• (The)Study of the Eastern Classic
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• no.48
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• pp.117-145
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• 2012

Gongsageunmunrok is a book that was edited by Jung Jae-ryun. He edited and chose some stories good enough to be an role model to descendants. There were all about 310 stories in that book. A forth of them is story about women. There were 4 types of women in the book. cautious women and women to see through a covered fact.Women who have a lot of authority, women who ask a man something, The women cautious women are generally a royal family. They tried to stabilize their royal family and nation. The way to stabilize was a good behavior. Women who have authority harms equitably and authenticity of official business. Requesting women, also, harm fairness of official business. Gongsageunmunrok has many different meanings like the following. First of all, There are women life of royal family's women in the book. Second, It is the book which can be based on later stories about women. Lee Geng-ik(李肯翊) rewrote on Yeunreusilgisul(燃藜室記述). Especially, Kim Reu rewrote the story titled 'Hansukwonjeon(韓淑媛傳)'. Sung Hae-eung,also, rewote Han Bo-hyang's story. Third, There are many stories with the life of court maid. It is useful to study all the life of court maid, political events and current events. Forth, It describes with women's aspects. Therefore many women's clique can be understood. Fifth, It can show women's literary work and a phase of women's literary activity.

• The Korean Publising Journal, Monthly
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• s.91
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• pp.25-25
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• 1991

지난 1989년 처음 학계에 보고돼 그 존재가 알려졌던 "병자일기"는, 비슷한 시기의 "산성일기"나 그보다 약간 앞선 "계축일기"가 궁녀에 의해 씌어져 궁중문학적 성격이 짙은 데 반해, 병자호란 당시의 한 사대부집 부녀자가 당대의 민간생활상을 꼼꼼히 기록한 것이라는 점에서 큰 의의를 평가받고 있다.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.55-71
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• 2011

Court ladies' tasks were largely divided into two. First, if there is a royal family event, such as the royal family's wedding or feast, they followed the rules and regulations of work division that was defined in "Gyeonggukdaejeon". Secondly, during normal days, they were divided into Jimil (至密), Chimbang (針房), Subang (繡房), Sesugan (洗手間), Saenggwabang (生果房), Naesojubang (內燒廚房), and Oesojubang (外燒廚房) and took charge of female work that was needed daily at the palace including serving, cooking, laundry, needlework, embroidery, cleaning, and nurturing. This organization was operated by different palaces such as the daejeon(king's palace), daebijeon(queen dowager's palace), junggungjeon(queen's palace), or sejagung(prince's palace). Court ladies were selected among female slaves of the government office or naesusa(a ministry of royal household properties). Although commoners were forbidden to be selected, they sometimes became court ladies voluntarily for financial reasons or because of the will of their parents. Court ladies had different appearances according to the division they belonged to. The court girls of Jimil, Chimbang, and Subang wore saeangmeori while court girls from other places had braided hairstyles. At Jimil, they wore all different kinds of chima(skirt) and jeogori(jacket). Usually, court ladies wore navy chima, jade jeogori, green gyeonmagi(top jacket) with the uyeomeori hairstyle. When working in the evening, they wore pink jeogori or yellow-green jeogori, navy chima with the jojimmeori hairstyle for easiness to stay up all night and work. Navy chima was worn by court ladies. If there was a royal family event upper court ladies wore uyeomi, black or green wonsam, and stewards wore garima and dangui.

• (The) Research of the performance art and culture
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• no.32
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• pp.107-129
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• 2016

This article is about the tradition and history of Baekjesooryukjae(Sooryukjae, one of the Buddhist ritual is called Baekjesooryukjae in Buyeo), which is conducted in Baekje Cultural Festival, the annual festival that is held in Buyeo. Buyeo was a place where various ritual books on Sooryukjae were published, and where Bumpae(Buddhist chants) were taught centering on Mooryang Temple. Based on this tradition, to comfort the lonely spirit of Baekje and pacify the three thousand court ladies, Sooryukjae started to be held 60 years ago. Baekjesooryukjae, unlike Sooryukjae of other regions, have the feature that it is held on the river. In Buyeo, where ritual books were published many times and where there was its own Buyeo education, Sooryukjae is assumed to have been handed down for a long time. Thanks to such historical tradition, Sooryukjae was held as a ritual of pacification in Baekje Cultural Festival. Baekjesooryukjae has unique characteristics. Baekjesooryukjae, which started with the proposal of the residents, shows off its status as the one and only water Sooryukjae that is currently existent, and it shows there are significant meanings depending on the changing venues of 재차 as well as the composition of 재차. It is a Sooryukjae with 60 year-long tradition and locality, history.

• Journal of the Daesoon Academy of Sciences
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• v.16
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• pp.217-226
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• 2003

당시(唐詩)에는 당나라 사람들의 생활상이 많이 반영되고 있으며, 이러한 기록들은 많은 부분에 있어서 역사서적의 내용과 일치하기도 한다. 그러므로 우리는 당시를 통하여 당나라의 제도 뿐만 아니라 당나라 사람들의 생활도 광범위하게 이해할 수 있다. 본 고에서 우리는 당시에서 언급되고 있는 당나라 사람들의 복식에 있어서 몇 가지 문제들을 간략히 서술하기로 한다. 당대 초기에는 수나라 복제를 따랐으나, 태종(太宗)과 고종(高宗)을 거치면서 품급에 따라 복색을 구체적으로 구분하였으며, 여자들도 남편의 복색을 따랐다. 황색을 황제의 복색으로 한 것은 고종 총장 원년(668)에 시작되었다. 고종 상원(上元) 원년(674)에는 또 관원의 품급에 따라 색깔의 짙고 옅음을 엄격히 구분하였을 뿐만 아니라 요대의 장식물 재료에도 상세한 규정을 함으로써 신분의 차이를 더욱 구체적으로 구분하였다. 관복의 색깔로 등급의 차이를 구별한 외에도 5품 이상의 관원에게는 어부(魚符)를 담는 어대(魚袋)를 차고 다니게 함으로써 귀천을 분별하였고, 조정의 부름에 응하는 부신(符信)으로 삼았다. 어부는 물고기 모양으로 관등에 따라 금(金)·은(銀)·동(銅)으로 만들어 몸에 지니고 다녔다. 관원들은 갓의 모양으로도 귀천을 구분하였다. 귀족을 갓을 썼으나 평민은 쓰지 못하였고, 문관과 무관도 갓을 각기 달리하였다. 당시에는 또 여자들의 복식과 관련한 묘사도 상당히 보인다. 당나라 때의 여자들은 한(漢)나라 진(晋)나라 때와 마찬가지로 일반적으로 윗옷과 치마를 입었다. 치마는 가슴에서 동여매었고, 그 길이도 매우 길어 땅에 3촌(寸)까지 끌렸다. 여자들은 대개 상의(上衣) 밖에 이른바 반비(半臂)라는 반소매의 옷을 입었다. 본래는 궁녀들이 일하기 편리한 복장으로 입었는데, 후에 점차 여자들의 평상복이 되었다. 여자들의 눈썹과 머리형에 관해서도 당시에는 많이 묘사되고 있다. 여자들의 머리장식과 화장 그리고 몸의 각종 장식구에 대해서도 당시에는 상당히 언급되고 있다. 당나라 여자들의 복식에 있어서 가장 큰 특징은 국내 소수민족 및 외국의 복식에 영향을 받아 "호복(胡服)"을 즐겨 입었다는 점이다. 이른바 "호복"은 서역만을 가리키는 것이 아니라 주변국들의 복장도 가리킨다. 여자들이 쓰는 모자와 신발에도 많은 변화가 생겼다. 당나라 중원지역에는 "만화(蠻靴)"를 신는 여자들이 생겨났으며, 이것은 호복의 하나로 호화(胡靴)라고 칭하기도 하였다. 여자들의 미와 상대적인 자유에 대한 추구는 당시에 강렬히 나타나고 있으며, 이것은 당나라 여자들의 사상이 점차로 개방화되고 있음을 시사해 준다. 이러한 개방의 과정은 당나라 사회의 개방과 사상문화의 교류·진보와 밀접히 관련하는 것이다. 그래서 당나라 사람들의 복식에 대한 당시의 묘사는 우리가 당나라 사회와 사람들의 생활을 이해하는데 중요한 단서가 되고 있다고 말할 수 있다.

• Sim-seong Yeon-gu
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• v.29 no.1
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• pp.46-81
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• 2014

The 'Woencheongang-Bonpuri' is one of the shamanistic myths in Cheju Island. That is a history of ancestor God of the 'Woencheongang'. This myth contains a shaman's initiation. And we can find important archetypal images in it. There are a child, old wise woman, book, water, tree, snake, Yakwangju which is a gem that emits light in the dark, dragon, hierogamy, goddess, time, etc. I've tried to interpret these images through the method of amplification from the perspective of analytical psychology. A heroine of this shamanistic myth is 'Ohnuri' that means 'today'. When she came out from the earth, she was a 'abandoned child' which is a 'hero-motif' in the fairytale and also a theme of individuation process in the analytical psychology. In the mean time, she grew up with helps of the nature, crane, and 'Yakwangju'. One day, she was found in the field by the people. They gave her a name of 'Ohnuri' and one day, an old wise woman told her how to go to her parents. On her way to the 'Woencheongang' where her parents regulate four seasons, she had met many characters which were in stuck. They told willingly Ohnuri a way to go to the 'Woencheongang'. Instead, they wanted to get solutions of their difficult problems. Finally, she met her parents in the 'Woencheongang' with joy and they taught her how to solve problems. Therefore, all characters in this myth could go on their own individuation process fortunately with help of the Whoencheongang's wisdom. In the meanwhile, Ohnuri got Lotus and Yakwangju and then she transformed to the goddess of the highest of the heavenly gods. Then she had helped people who get in trouble. In this way, the 'Woencheon-Bonpuri' was psychologically interpreted from aspect of analytical psychology.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.226-245
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• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.