• 복식
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• 제39권
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• pp.113-123
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• 1998

This study focuses on the effects of the clothes worn by kisaeng; courtesans trained in singing and dancing, on changes in female psychology as reflected in general women's fashions during the later years of the Chosun dynasty. During this period, the social order had broken down considerable, due in part to the introduction of Roman Catholicism, and in part to the actions of Sil-hak, who emphasized open-ness and practicality in the organization of social affairs. This freer social environment disrup-ted the established social hierarchies. The kisaeng were among the first to respond to the new social mores by adopting more colorful, sensual, and individualized fashions. Their social position allowed them to reflect the new aesthetics of the time right away. Those aesthetics seemed to lay great emphasis on the artistic effects of contrast. The kisaeng would adorn their heads with large Kache (an elaborate wig or hairdo typically reserved for use by women in full formal dress). In contrast to this conspicuous hairstyle, they typically wore very tight-fitting Jogori (short-cropped Korean traditional jackets for women) around their upper torsos. The long skirts emerging from beneath these short jackets would typically flare out dramatically, with the aid of petticoats. However, these skirts would be bound at the waist with a sash, increasing the sexual suggestiveness of the clothing by drawing at-tention to the hips, and by exposing the bottom frills of the petticoats, or the wide pantal-oons and other undergarments the kisaeng wore to add volume to their skirts. The relative freedom enjoyed by the kisaeng to experiment with new fashions was not widely shared by most women. This generated envy from women of the noble classes, who were more bound by convention, and restrained from adopting such a mode of dress. It also generated envy from women of the humble classes, who saw the kisaeng as working little for their wealth, and yet dressing every day in finery that the average women would only ever be able to afford on her wedding day. This envy directed at the relative freedom/wealth of the kisaeng by women who faced greater socioeconomic constraints was given cultural expression through the adoption of elements of the kisaeng's fashion in the fashions of both noblewomen and humble women in old korea. The luxurious Kache sported by the kisaeng had in fact been borrowed from the habitual attire of upper-class women. So to distinguish themeselves from the kisaeng, they began to abandon these elaborate hairstyles in favor of traditional ceremonial hoods (Nel-ul-a thin black women's hood) and coronets (Suegaechima). This supposed reaction to the abuse of the Kache by the kisaeng still remained influenced by the kisaeng still remained influence by the kisaeng, however, as these headdresses became adorned with many more jewels and decorations, in imitation of the kisaeng's adaptations of the coronet. At the same time, noblewomen began sporting the Jangwue ; a headdress previously worn only by kisaeng and lower class women, and lower class women were then permitted to wear the Kache at weddings. All women behan to wear shorter, tighter Jogori jackets, and to add volume to their skirts. They also attached frills to their under-garments in imitation of the kisaeng's exposed petticoats and pantaloons. The impact of kisaeng fashions was thus deep and widespread, and can be understood as an expression of women's longing for freedom from socioeconomic constraints in the late Chosun dynasty. This study adopts an interdisciplinary ap-proach to the understanding of historical changes in women's fashions. Such interdisciplinary work can greatly enrich the study of fashion, often narrowly focused on clothing morphology and broad generalizations about society. For this reason, specific dynamics of feminine psychology in the late Chosun dynasty were elaborated in this study, to provide a deeper under-standing of the changes in fashion underpinned by them. If more such detailed analyses are undertaken, a whole new understanding of changes in fashion can be generated, and perhaps a transformation of the field of fashion history can be ultimately achieved.

• 한국시조학회지:시조학논총
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• 제22집
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• pp.115-142
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• 2005

허균과 매창은 사대부와 기녀의 관계로 알게 된 사이다. 그러나. 허균은 매창을 여성 문학인으로 재능을 인정하고 평생 시우로 존경하며 사랑한 사이였다. 허균은 천재 시인, 혁명가, 이상향을 꿈꾸는 평등주의자여서 여성과 서얼을 인간으로 대접하려는 따뜻한 성품의 소유자였다. 그러한 허균이 매창을 중국에 기녀시인 설도에 비견하고 매창을 조선의 최고 기녀시인으로 손꼽는 데는 매창 시의 한 특성이 있다고 본다. 그녀의 시조는 상실감에 가득한 비애 가운데서도 임과의 재회를 꿈꾸는 소망의식이 가득한 시 의식을 지니고 있다고 본다. 또한, 그녀는 사대부와의 관계에서 나름대로 등거리 사랑을 추구하였고 그에 성공하였기 때문에 성적 욕망의 대상인 기녀 신분이면서도 성이 뒤로 앉은 정조 어린 여성으로 자리 잡아 사대부들의 존경과 시선을 한 몸에 받은 시인이었다. 허균의 폄하 발언으로 얼룩진 평가를 재평가하고, 매창의 시가 비애 의식에 머물러 있지 않고 소망의식으로 발돋움하였다는 것을 밝히고 있다.

• 공연문화연구
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• 제33호
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• pp.303-328
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• 2016

본 논문은 일제강점기 권번 예기로 활동했던 김정연의 삶을 확인하고 그가 근현대시기를 거쳐 어떤 춤 활동을 했는지, 또 그가 저술한 "한국무용도감" 속의 춤 작품들이 어떤 무용사적 의의를 지니는지를 고찰한 연구다. 서도소리 중요무형문화재 보유자였던 김정연은 문화재 지정 이후 국악계에 전념하면서 무용계에서 낯선 인물이 되었지만, 권번에서는 명무가인 이장산에게 춤을 사사했고 해방 후 1960년대 초까지 춤 활동에 주력했던 것으로 나타난다. 이러한 학습과 창작 활동의 결실인 작품들은 그의 저서 "한국무용도감"에 실렸는데, 본 연구에서는 그간 무용계에서 주목받지 못했으나 근현대 무용사에 있어 활발한 활동을 하고 중요한 업적을 남긴 김정연과 그의 작품을 연구하여 근현대무용사에 있어 어떤 의의를 가지는지 살펴보고자 했다.

• 복식
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• 제5권
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• pp.113-140
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• 1981

"Jung Ri Eui Kwae" is the book, illustrated and recorded with court coutesy and manners during the King, Jung Jo's honoured coming to his own father's royal tomb "Hyun Ryung Won" of Sa Do Seh Ja(The Crown Prince to be mourned) with his own mother Hae Kyung Koong Mrs. Hong. According to this book, we can see the costumes and its ornaments of the civil and military officials and also of Yu Ryung(the maden court musician) and Dong Ki (a young Kisaeng girl) during serving at Bong Soo Dang bangquet celebrating his own mother's 60th birthday anniversary. It is interesting to review once more the royal ceremonies representing the portion of the costumes and its ornaments in the 18th century of the Yi Dynasty, Yung-Jung Jo era that is to be thought the reform period in almost every field of social system.

• 자연과학논문집
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• 제8권2호
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• pp.289-321
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• 1996

조선 후기는 임진.병자 양난을 계기로 사회전반에 급격한 변화를 겪으며 근대 사회로의 전환기를 맞는다. 즉 전쟁으로 인한 국가제도의 문란과 혼란해진 사회구조 속에서 신분제도가 해이해졌고, 상업경제체제와 화폐경제의 발달로 인한 부유한 중인 계층이 대두되었고, 사상적으로는 유교가 공리공론에 빠지면서 유교윤리의 약화현상이 나타나면서 현실치중 의식을 보이는 실학사상이 등장 하였다. 또한 서민문예의 대두로 서민의식을 가진 서민계층(서민의식을 가진 양반계층 포함)이 등장하게 되었다.이 서민 계층의 등장은 복식에 있어서의 대중복식문화를 부각시키면서 유행현상이 출현되었다. 그리고 대중은 이 전환기 사회에서 변화된 그들의 역할과 가치관은 이제 더 이상 지배층에게서 영향력 행사할 충분한 권력이나 매력을 찾지 못했다. 따라서 이들은 새로운 상징적 선도자(Symbolic leaders) 즉, 모범을 보여주는 새로운 대상을 찾았고, 그들의 상징적 선도자는 바로 '자유분방하고, 사회활동을 하는 독립된 여성, 그리고 시와 가무를 즐기는 풍류가이고 또한 신체적으로 매력을 지닌 멋장이인' 기녀들 이었다. 선도자 그룹인 기녀계층에 의해 제시된 새로운 Fashion과 Style인 Erotic Mode와 사치 Mode는 그 시대 사조를 반영하면서 대중이 의식과 기호에 크게 맞아 떨어지자 큰 호응을 얻고 수용되었다. 즉 이들대중은 선도자 그룹을 모방 함으로써 그들과 자신들의 동일시를 성취하고 선도자의 Prestige를 나누어 가지고자 했던 것이다.이러한 이유로 해서 기녀들은 하류계층임에도 불구하고 조선후기 시대의 "패션의식적인"사회집단으로서 대중으로부터 주목받고 대중의 기호를 장악하며, 그들의 복식행동은 대중으로부터 강한 수용을 받게 되면서 대중의 의복 행동에 크게 영향을 미치는 유행선도자(Fashion leader)였음을 보게 된다.

• 패션비즈니스
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• 제14권3호
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• pp.52-63
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• 2010

The Hanryu(韓流) phenomenon in and around Asia looks like slowing down lately. At that time, the research about contents that can inform the high traditional culture of Korea is useful. The references which can make a study about cultural clothes, especially paintings, let us to infer the life of the people of that period. In this research, I try to study the characteristics of customs, symbol and costumes by analyzing the paintings of Shin, Yun-Bok who was genre painter of the late Chosun. The mens are wearing dopo(道袍) and are putting sejodae(細條帶) around their waists and gat(黑笠). Also, We can see many different types of job such police, official man, a buddhist priest, a barmair, kisaeng and shaman through the costume. Most of women in the paintings, They are wearing Deep blue skirts, banhwoejang pale tone jeogori and tress. We discussed the common lives of the people through genre painting. They have satire, humor, and symbolism. Also, we can look into the various lifestyles, customs of times and seasons, ceremonial occasions, civilian beliefs, and plays ransmitted from the past. The philosophy in Shin, Yun- Bok's genre painting, is close to Taoism not Confucianism.

• 패션비즈니스
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• 제4권2호
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• pp.127-140
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• 2000

The purpose of this study was to research and design stage costumes of Whangjinie focusing on inner image of Whangjinie, present stage costumes of new image. Four steps were taken in order to achieve this purpose. The first step was to investigate the old documents and prior research about literature world of Whangjinie. The second step was to analyze stage costumes of Whangjinie which were worn in opera, movie. The third step was to design and make the stage costumes according to new images Whangjinie which were extracted from above two research results. The new images of Whangjinie are as follows 1. Whangjinie as a kisaeng(professional entertainer) She thirsted for new, materialistic love though she failed in love everytime. 2. Whangjinie as a woman. She had a hard time by feeling an irresistible yearning for lover 3. Whangjinie as a poet. She expressed as a poetry her vanity and loneliness of life. Using above three images, this study designed four new stage costumes of Whangjinie and two designs of them were made really. But this study didn't present historic costume of her age but expressed modern mood in color and form.

• 복식
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• 제57권5호
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• pp.12-32
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• 2007

This study aims at investigating Geisha costume hidden in the history until now and how the fashion of Geisha style is expressed in accordance with character through the movie 'Memoirs of a Geisha'. Major contents of the text consist of studies including the historical background and characteristics of Geisha costume in Chapter 2, the Japanese style expressed in the movie through the analysis of the work in Chapter 3, The movie brought in an opportunity to spread the mysterious culture and art of Japan to the world, making Japanese style an important interest in the world of fashion as well. In a way to study this, the investigation was carried out through literature data, DVD and newspaper of , fashion magazine, articles from the Internet, ete. The Geisha trend has made the hot blast blown harder in such ways to affect not only fashion but also cosmetics, electronic appliance, interior, etc. In S/S 2006, it was not limited to the Japanese style but diffused to the Orientalism in China, India, Korea, etc. It can be said that this study has its significance to be a starting point in investigating the special characters of Japanese Geisha costume hidden up to now. In the studies following in the future, the formative beauty demonstrated per Japanese designer needs to be more studied. Furthermore, it seems noteworthy to analyze and compare Chosun Dynasty's Kisaeng with Japanese Geisha.

• 복식
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• 제14권
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• pp.99-117
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• 1990

The purpose of this study was to investigate the change of clothes in modem Korean women in terms of a socioeconomical background, the introduction to western clothes, and the improvement of clothes between the opening period of ports in the early 1900's and 1960's. In addition, the study investigated how western clothes became popular in a Korean society along with the traditional' Korean clothes, Hanbok. The radical social change since the opening of ports motivated the change in the way of Korean women's thinking, and consequenty the improvement of Hanbok which developed into the clothes-improvement-movement. It was not until 1905 that the improvement of clothes was hotly debated particularly in the matter of abolishing Jangeui and the extreme length of Jeogori and Chima. The Tongchima-Jeogori style which lengthened Jeogori and shortened Chima was widely accepted as everyday wear until the western clothes substituted them after the Independence from Japanese Conquest. As the length of Chima shortened, there occurred a change in Boson and Jipsin as well. There appeared shoes and Gomoosin in place of Jipsin, socks in stead of Boson and were popularized until after the Liberation in 1945. The popularity of Gomoosin diminished markedly with the diversification of shoes styles, due to the improvement of the standard of living with economic development in the 1960's. The traditional Hanbok was gradually differentiated according to the social status, for instance student, teachers, ordinary women, girls and Kisaeng. Especially since the white clothes caused much trouble in washing and sewing, there came into being the movement of wearing colorful clothes. The Movement of abolishing white clothes and promoting of wearing colorful clothes was enforced during the period of Japaness conquest from the 1920's to the Liberation, which consequently stimulated an interest for colors of clothes. The period under the war between 1937 and 1945 was especially noted for the extreme regulation over the clothes. The Japanese government forced each group of women, e.g., girl students, a young women's association, school teachers, and ordinary women and girls, to wear their own uniforms. Also, It recommended the use of Tongchima in stead of long skirts, and buttons in place of Coreum so as to conserve textile encouraging the use of other substitutes to save resources. The western clothes, a model of clothe's improvement was deemed as a symbol of modernization and enjoyed general popularity. The supply of relief clothes after the Korean war accelerated the expansion of western clothes even further and the trend of westernization along with economic progress in the 1960's resulted in wearing of western clothes as everyday dress. The expansion of western clothes as casual wear rapidly diminished wearing of Hanbok which in turn took the position of ceremonial dress worn in special cases only. Hence the Korean women's clothes were dualized into traditional Hanbok and western clothes and the western clothes that stems on its convenience was settled as everyday wear where as the Hanbok appeared as ceremonial dress stressing on ornamental features. As mentioned aboved, we are able to discovered an orientation in the course of transitional process of modern Korean women's clothes admist diversified changes, which is a consistent pursuit of convenience and practicality based upon progmatism. The trend such as this carne into a finale' as women's dress became dualistic in forms of Hanbok and western clothes, and the change since then is supposed to proceed in two forms of dress featuring its own style.

• 고전문학과교육
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• 제38호
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• pp.103-138
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• 2018

이 글은 고전문학(예술) 향유방식의 근대적 계승 변용 양상 및 의의를 점검하는 작업의 일환으로서, 전통 시대의 공연물들이 근대초 서울지역을 중심으로 한 실내 극장무대 위에 올려지면서 나타난 향유방식상의 특징들을 살피는 데 초점을 두었다. 그 단서는 20세기초 신문, 잡지 기사와 광고들에서 찾아 보았다. 근대초 실내극장무대의 등장은 공연 환경상 큰 변화를 야기했다. 기존 계층이나 신분의 벽을 넘어선 향유가 가능하게 되었다는 점, 공연자는 고용을 통해 극장측에 전속되어 가기도 했다는 점, 관람료 지불만 하면 누구든 공연을 볼 수 있었으므로 관객은 불특정 다수의 일반 대중의 성향을 띠어 갔다는 점 등이 대표적인 변화였다. 나열식 연속 공연, 보여주기 지향, 대중공연물로의 재맥락화 등은 그러한 환경 변화와 관련하여 나타난 전통공연물 향유방식상의 주요 특징들이었다. 이러한 특징들이 지닌 의의로는, 전통 시대 공연자 및 관객의 신분 계층상 장벽이 허물어져 일종의 평등성을 구현할 수 있게 했다는 점, 관객의 시점에서 볼 때 감각적 향유를 경험할 수 있게 했다는 점, 예술 상품으로서의 소비적 향유를 통해 일종의 대중적 향유라 할 만한 양상을 드러내었다는 점 등을 거론할 수 있었다. 물론 그 이면을 통해 시대적 맥락을 고려한 문제점들을 발견할 수 있기는 하나, 하층이 주 공연자이던 전통공연물이 근대 실내극장무대의 첫 자리를 차지했으며 그 결과 우리 대중공연물 시대의 첫 막을 열 수 있게 되었다는 점만큼은 그 누구도 부정할 수 없는 사실일 것이다.