• 동아시아식생활학회지
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• 제25권4호
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• pp.549-564
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• 2015

This study was conducted on the head family house of Panseogong coterie of Andong Kwon clans in Daksil village, Bongwha gun, Kyungbuk: historical sources survey and field visit over four rounds were conducted from March to June 2014. In-depth interview, storytelling, and nutrition facts were used as methods of research using 49 participants, and the potentials of trend goods were the main purpose of this research. The specialties of bongwha prefecture in the Chosun Dynasty were pine nut, manna lichen, ginseng, sweetfish, and wild honey. Ritual food bulcheonwi's offerings a feature in Choongjae Kwonbeol's head family - were sacred wine, me, gang, otang, myun, myunjeok, pyunjeok, pyunchung, pyun, po, chungpomook, dojeok, sookchae, ssam, chimchai, sikhye, chogwa, silgwa, soojunggwa, etc. The ritual foods of bulcheonwi's head family house Choongjae Kwonbeol were commercialized through storytelling. Choongjae Kwonbeol's ritual ceremonies, recognized for their national royalty, were reorganized as the traditional Korean table settings, so that the Korean people could easily access them. The special meal called "Geumgyeporansang" represented the head family house foods' essence to share and serve others through the Dacshil village's natural beauty, Bonghwa's local ingredients, and festivities after the "Chungjae Gwunbal Bulchun" rituals. The ritual foods called "Cheongamjungsang", utilizing "Chungjae Gwunbal Bulchun" rituals, were represented in the form of a lunch box: such foods illustrate the classical scholar's mindset that enjoys the nature and arts through education and virtue.

• 건축역사연구
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• 제11권4호
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• pp.129-142
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• 2002

The Kyeongbok Palace was completely renewed during the reign of King Sejong, the fourth King of the Joseon Dynasty(1392-1910). The repair was done for the two main purpose; one was to obtain the dignity of the main palace of the dynasty, the other was to make the palace suitable for the performing of the various ritual ceremonies. It was under the reign of King Sejong that every detail of the procedure of the royal ritual ceremony. The procedure of ritual ceremony changed the buildings of the palace. The quarter of Sajeong-jeon, King's office, was changed remarkably from the original form as the building became the beginning and ending point of King's moving during the ritual ceremonies. The site of the palace had ill reputation from the point of geomancy since its establishment. King Sejong ignored the rumor and kept the palace as usual. In his later year's, Sejong had tried to build a detached quarter and a Buddhist shrine in the palace. But he had to give up his plan because of the retainer's strong opposition. The original layout of the Kyeongbok Palace could be remained as the King renounced his controversial personal wish. King Sejong deserves a full credit for the establishment of the Kyeongbok Palace as the main palace of the Joseon Dynasty.

• 건축역사연구
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• 제2권2호
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• pp.50-65
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• 1993

Most of the studies on Yangban Houses dealt with the existing houses which were constructed, in most part, after the 17th century. Therefore it is important to identify the actual process of change from before the 17th century which is critical in understanding the history of residential architecture of the Chosun Dynasty. This study aims to clarify that the architectural condition after the 17th century is the result of the major change in sound the 16th century, and the prime motivation of that change was initiated by the family ritual which become very important social and idealogical base of the change. To be able to practice the family ritual, the spatial arrangement had to be changed, Man's quarter had to be enlarged, which a stone-floored room was added on one side of the centural wooden floor of the lady's quarter. Also, family shrine was erected on eastern side of the site. Thus, unless the major change in the 16th century, which was caused by the practice of family ritual, is understood, the study of historical background of Yangban houses can never be complete.

• 공연문화연구
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• 제23호
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• pp.245-280
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• 2011

현대 한국 연극의 주요한 흐름 중의 하나는 한국의 전통적 제의인 '굿'을 연극에 도입하고 있는 작업이다. 이러한 작업은 문화의 다원화라는 흐름과 함께 굿을 창조적으로 연극에 수용하려는 경향을 대두시켰다. 한국에서 제의 연극의 연구 방향은 제의로서의 굿에 내재되어 있는 연극성을 이론적으로 규명하는 작업을 중심으로 서양의 제의 연극에 관해 탐구하는 방향으로 모색되어 왔다. 본 연구는 아르또가 세운 제의 연극의 이론을 기반으로, 한국연극에 나타난 제의 수용 양상을 「산씻김」, 「오구」를 통해 제의의 수용 양상과 제의 연극적 특성을 분석하였다. 제의의 수용 양상은 이 작품들이 '씻김굿'과 '오구굿'에서 어떠한 형태들을 차용하고 있는지를 분석하였고, 제의 연극적 특성은 이 작품들을 아르또의 관점과 구별되게 분석하였다. 따라서 본 연구는 굿의 연극적 수용 형태를 살펴봄으로써 한국 연극에 굿이 어떠한 형태로 수용되는지 그 구조와 특성을 분석해 보았다. 한국의 제의 연극은 굿에서 출발점을 삼고 있다. 아르또의 잔혹연극 또한 아시아의 무당굿에서 비롯된 발리 댄스에서 영향력 입은 바가 무척 크다. 따라서 그 공통점은 상당히 드러난다. 한국의 굿, 또는 제의 연극이 제의성과 놀이성을 동시에 추구한다는 점이 관객을 낯설게 하는 아르또와는 다소 다른 점이지만 관객과의 소통을 원하고자 했다는 점에서 유사성이 발견된다. 앞으로 제의성의 현대 연극에 대한 수용은 관객과의 소통과 정화와 치료라는 매개로 전개해 나갈 때 그 방향은 한층 뚜렷하게 드러날 것이리라 믿는다.

• 대한가정학회지
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• 제37권4호
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• pp.111-124
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• 1999

The purpose of this study was to investigate the effect of generation on consciousness toward wedding ritual and to compare the difference in their consciousness between the young and the old. Data were obtained from 489 individuals living in Seoul. OLS regression analysis was used to identify the effect of generation on consciousness toward wedding ritual. The effect of generation was significant in the consciousness of wedding procedures, while it was not significant in the consciousness of wedding expenditures, holding other factors constant. [t was also found that procedure-important style was associated with more expenditures on wedding. The findings of this study suggested that the materialism had an important effect on the consciousness of wedding procedures for both generations. Understanding these factors is useful for family resource management professionals and educators who develop educational programs to build desirable wedding culture in Korea.

• 복식문화연구
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• 제7권1호
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• pp.68-81
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• 1999

This paper makes a report of Shaman\`s ritual performed among Korean resiednts in Japan as socio-historical facts, and this also examines the symbolic meanings of Shamans\` costumes. The results are as follows ; 1) At the ritual of Jungsip-Wang Maji, Shamans wear Gwandae, Kunbok, Jangsam, Durumaki, and Chima-jugori. These costumes show that their wearers are priests and gods at the same time. 2) The reason why Simbang performs the ritual in different costumes at different Jaechas is that each object-god needs different costumes to represent its different character. 3) Shamans\` instruments consist of musical instruments and other instruments. Among the musical instruments are such percussions as Buk, Jing, Janggo and Sulsae. Among other insttruments are Sindo, Sanban and Yoryung. 4)Shamans think that the musical instruments have magic powers to drive out minor demons and invite gods. Sindo, Sanban and Yoryung are thought to be the symbolic instruments representing god\`s will.

• 한국농촌건축학회논문집
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• 제2권3호
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• pp.57-64
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• 2000

The change of social consciousness and culture induce increasing needs of funeral ceremony hall. This study analysed the equipments standards of funeral ceremony hall, and the procedure of each ritual formalities, then surveyed nine cases. As a result, the forms of mortuary are identical despite the needs of plans by religions and rites. This study recognized the needs of mortuary plans by religions, and purposed to plan each religion's mortuary based on funeral ceremony hall after this.

• 공연문화연구
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• 제32호
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• pp.107-129
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• 2016

이 글은 부여에서 해마다 열리는 백제문화재에서 설행된 부여 백제수륙재의 전통과 역사를 살핀 글이다. 부여는 과거부터 수륙재의 여러 의례집이 간행된 곳이고, 부여 무량사를 중심으로 하여 범패 교육이 이루어지기도 했다. 이러한 전통을 바탕으로 하여 60년 전부터 백제의 고혼을 위로하고 삼천궁녀들을 위무하기 위해 백제문화재가 거행되면서 수륙재가 함께 시작되었다. 특히 다른 지역의 수륙재와 달리 강상에서 행해지는 수륙재라는 특징이 있다. 의례집이 여러 차례 간행되었고, 독자적인 범패 교육까지 이루어진 부여 지역은 수륙재가 오랫 동안 전승된 것으로 추정한다. 그러한 역사적 전통이 있었기 때문에 백제문화제가 거행되면서 위무의식으로 수륙재가 봉행된 것이다. 아울러 부여 백제수륙재는 독특한 특징도 가지고 있다. 주민들의 자발적인 발의로 시작된 부여 백제수륙재는 현존하는 유일의 수상수륙재로 위상을 보여주고 있으며, 재차 구성을 넘어서서 재차를 연행하는 장소의 변화에 따라 상당한 의미가 있음을 보여준다. 60년의 뚜렷한 역사를 가지고 있으면서, 전통성과 지역성, 역사성을 가지고 있는 것이 부여 백제수륙재이다.

• 가정과삶의질연구
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• 제19권3호
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• pp.135-155
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• 2001

The purpose of this study was to investigate the general tendency of family/kin ritual transition and to find out related variables. For this purpose, 593 subjects of rural family were interviewed with questionnaires. The major results of the study were summarized as follows: 1. It was discovered that the characteristics of the ritual transition among the rural families is same as the urban families, i.e. westernization, commercialization, and socialization. But the speed of rural area was relatively slow. 2. In contemporary family/kin rites, traditional structure coexisted with external westernized aspects by the group who were elderly, lowly educated, lowly earned and Buddhist. 3. The family/kin rites were more significantly different depending on the age than gender, and the religion was the significant variable to the family/kin rites. So the family/kin ritual management education programs were needed.

• 가정과삶의질연구
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• 제19권4호
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• pp.167-184
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• 2001

The purpose of this study is to investigate actual conditions of family/kin ritual transition and to find out relationships to socio-economic variables. For this purpose, 716 subjects of urban family were interviewed with questionnaires. The results of this study may be summarized as follows: 1. It was discovered the pervasive themes of family/kin ritual transition: westernization, commercialization, socialization, and cultural anomie. 2. In contemporary family/kin rites, traditional structure coexists with external westernized aspects under the influnce of industrialization and commercialization. The rites were continued to provide a place where participants reproduce the ideology of patriarchal family group, especially the strong parent-child ties and narrow kin relationships. 3. Respondents who support traditional ritual style are old, lower class, and Buddhist. 4. Respondents who support westernization and socialization of family/kin rites are young, higher class, and Christian. But family/kin rites are not affected by sex relatively.