• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2018.05a
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• pp.122-125
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• 2018

조선은 개국 이후 일본과의 교린정책을 위해 막부의 요청에 따라 총 20차례 통신사를 파견하였다. 그 동안 우리 학계에서는 통신사행과 관련한 제도와 문학, 문화교류, 통신사선의 건조, 상호간의 인식, 외교와 의례, 영접 등을 중심으로 연구가 이루어져 왔고, 통신사행의 이동경로인 항로와 항해에 대해서는 상대적으로 연구가 미진하였다. 본 연구는 임란 후 1607년부터 1763년까지 일본에 파견된 12차례 통신사행의 해상항로와 항해에 대해 현지답사와 사료를 중심으로 분석한 것이다. 이 연구는 통신사선의 항로와 항해에 대한 최초의 학술연구로서 통신사행에 대한 연구의 질과 폭을 넓히는 계기가 될 것이고, 해양사적으로는 한선의 항해술을 이해하는 단초가 될 것이다. 그러나 항해의 실체에 대해서는 통신사선의 사공과 격군이 남긴 사료가 전무하여 구체적으로 밝히는 데는 한계가 있었다. 이는 차후 연구를 통해 보완할 필요가 있다.

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.33-44
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• 2007

The purpose of this study is to examine the roles and costume of Sodong as shown in the illustration of Choseon Delegation to Japan. Results of the study can be described as below. First, as shown in the illustration, Sodong played roles as Tongin and dancer. As Tongin, Sodong provided services or made errands for his seniors. In the other role, while, Sodong danced to comfort his seniors and show dances of Choseon to Japanese people. Second, Sodong wore Kwaecha over Sochangeui throughout his march with the delegation as Tongin. This is probably because the two clothes made him feel convenient and easily active. In both 1700s and 1800s, meanwhile, Sodong also wore Jikryeong and Cheolik. Third, Sodong wore Kwaecha over Sochangeui, or Danryeong and Nansam all the time when he navigated together with the delegation. When passing through Tsusima into the Japanese mainland, which meant starting international exchanges between Choseon and Japan, Sodong sticked to formality to the utmost by wearing Danryeong and Nansam. Fourth, Sodong wore Kwaecha over Sochangeui when he performed as dancer. The two clothes were also worn by Mudong during outdoor banquets in Choseon at that time. In addition, it is thought that Sodong wore Jikryeong, Danryeong and Nansam like when he marched or navigated together with Choseon Delegation.

• The Journal of the Korea Contents Association
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• v.19 no.4
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• pp.490-501
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• 2019

This study is aimed at researching Gyobang Dance performed by gisaeng of Gyobang in the banquet of Tonshinsa in Yeongnam Jwa-do Province. For this study, Hae-haeng-chong-che, a collection of 28 travel essays written by Joseon Tonshinsa after visiting Japan, and a collection of literary works were analyzed. Joseon Tonshinsa used Yeongnam Jwa-do Province as a route to Japan in obedience to a royal command, and Yeongnam U-do Province as a way back to Hanyang after completing their missions. The country gave a huge banquet to relieve Tonshinsa's anxiety about the voyage and to pray for a safe trip. The banquets were concentrated in Yeongnam Jwa-do Province, the way down to Busan departing from Hanyang. Looking into Tonshinsa's records, it can be seen that Tonshinsa banquets took place in Andong, Yeongcheon, Gyeongju, Milyang, and Busan. Gyobang Dance performed at Tonshinsa banquets includes Geommu, Hwangchangmu, Cheoyongmu, Cheondo, Mudong, Ipchum, and Jungchum. Through Tonshinsa envoy, 'Jeseon Tonshinsa-gil' was formed in Yeongnam Jwa-do Province, and through Tonshinsa banquets, the artistry of Gyobang Dance was compiled. Nevertheless, present Yeongnam Jwa-do Province has remarkably less Gyobang Dance passed down in comparison to Yeongnam U-do Province. For this reason, there is a need to look into Gyobang Dance of Yeongnam Jwa-do Province. The purpose of this study is to closely examine the cultural and artistic characteristics of Gyobang Dance performed at Tonshinsa banquets in Yeongnam Jwa-do Province formed through Joseon Tonshinsa-gil.