• 복식
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• 제56권8호
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• pp.74-82
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• 2006

In ancient China, Su(綬) was the ornament of the full dress. It had originated from tying the jade or another thing before Jen(秦:Qin) dynasty and it tied the imperial jade seal and the chop from Han dynasty. Su of Han dynasty was different in the inscape, colour, length and density according to the grade. And the shape was the straight line. But these phenomena were changed after Han dynasty. This study showed how it changed. To studying used the comparison method of literature records, paintings and archeological relics. It mostly studied imperial Su. Su of Han dynasty of the high grade was formed by Yeok, the circle type jade and Su(Su moaned whole Su, at the same time moaned the part of Su, too). Afterward, Yeok was changed into Small Su[小綬] and Su was changed into Big Su(大綬). Originally the circle type jade was connecting Yeok to Su, but it was changed into tying Small Su only. Su of Han dynasty used the four kinds of colour, but from Su(隋: Sui) dynasty used the six kinds of colour. Originally Su was interlacing, but it was changed into the silk fabric from Song[宋] dynasty. According to using silk fabric's Su, it was likely to disappear the system distinguishing the grade by length. And it kept the method of interlacing the reticulation in the low part of silk fabric's Su. So, after using silk fabric's Su, the system of the density was not about the main body but about the reticulation. Su was been used woven with supplementary golden wefts, too. The circle type jade was chiseled the dragon and cloud from Geum[金:Jin] dynasty. These not the pattern of silk fabrics.

• 복식
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• 제57권9호
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• pp.1-15
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• 2007

The purpose of this study is to classify the types of and to examine the characteristics of the golden decoration technique used for expressing patterns on the costumes from Dang dynasty to Cheong dynasty era. In order to classify the types of the golden decoration technique and to examine its characteristics, literature review, focusing on documents and records of China, and investigation on the relics from Dang to Cheong Dynasty era were conducted. The types of decoration technique using gold include china JigGeum (brocade technique), InGeum (attaching gold powder and flake technique), GeumSaJaSu (embroidery technique), GeumSaTapestry, mixed technique. Interestingly, it was newly found in this study that embroidery with golden thread was used in the GeumSaTapestry technique and that there were some cases of the mixture of 2-3 gold decoration technique. The GeumSajaSu technique was used the most frequently from Dang dynasty to Yo dynasty era. However, its use had decreased enormously while the use of JigGeum had increased a lot since Geum dynasty era. The mixture of 2-5 techniques was used frequently in JigGeum, GeumSaJaSu, and GeumSaTapestry, but not used in InGeum. Particularly, the mixture technique was the most frequently used in the GeumSaTapestry, which expresses by composition of paintings. All four methods were used the mostly frequently in costumes, while GeumSaJaSu and GeumSaTapestry were generally used for home accessories. InGeum and GeumSaJaSu were used a lot for gaze and leno fabrics such as Sa or Ra, while JigGeum was mostly used for satin weaved fabrics like Dan.

• 복식
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• 제55권5호
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• pp.1-13
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• 2005

The results from the consideration of this are as follows. 1. Kokuryo has been the exchange foreign relationship with the Han dynasty era, from king DaiMuSin 25 years to Bojang 27 years. 2 King of Kokuryo, from The North-Wei-dynasty has been received ceremonial costumes, first-third class of China's official rank. After unification of China, Su, Dang dynasty's envoy and missionary and many commercial men and artist come from China to Kokuryo, therefore, influenced their costume habbits and behabiers from royal families costumes and common peoples costumes, without concern of that one's social position. 3. Kokuryo King's ceremonial costumes are not the same as the China. Kokuryo performed a religious service an emperor's ceremony. And the Kokuryo King's religious mind was the Budism and Daoism. So that mural painting just showing the symbolic of the king's costumes , Myunryukwanbok.

• 한국수학사학회지
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• 제19권3호
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• pp.1-20
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• 2006

조선(朝鮮) 시대 수학에 관계된 행정 업무는 취재(取才)에 의하여 뽑힌 중인(中人) 산원(算員)들에 의하여 이루어졌다. 이들은 호조(戶曹)에 속하며, 직위는 계사(計士), 별제(別提), 훈도(訓導), 교수(敎授)이다. 산원(算員)들의 교육과 취재를 위하여 훈도(訓導)와 교수(敎授)들의 역할은 매우 중요하다. 주학선생안(籌學先生案)과 주학입격안(籌學入格案)을 통하여 훈도(訓導)와 교수(敎授)를 조사한다.

• 복식
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• 제53권4호
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• pp.163-176
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• 2003

Waist lined Coat with Pleats excavated from Byun-su(1447-1524) Tomb in Yangpyeong were very similar in size to the costume of Haeina Temple which is the oldest YosunChollik up to now YosunChollik was popularly worn in the Yuan Dynasty of China(원) and it is presumed to be flown into Korea in that period. In China, the coat with a straight collar was called ByeonseonOh , and one with a round collar was called ByeonseonOhja in the Yuan Dynasty. The excavated relics of Haeinsa Temple are almost same as ByeonseonOh. In the Myoung Dynasty(명), the coat with a straight collar was called YoseonOhja, and one with a round collar was called Round collar YoseonOhja . The Waist lined Coat with Pleats excavated in the Byunsu Tomb is same as YoseonOhja Attendants who is low in position and doctors used to wear the coat, which was spread to diverse classes by degrees. Later, even emperors and high ranking officials used to wear it as military uniforms. It was made of silk and summer cloth. As mentioned above, 1 examined its history carefully through Chinese documents and photographic materials on relics. In addition, with the authentic records of Korea and the excavated relics of the Byun-su Tomb, 1 analyzed its components. However, the analysis was very restricted because the relics to be compared with were few.

• 한국의사학회지
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• 제24권2호
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• pp.1-15
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• 2011

Kim Su-On(1409~1481) was a editor in King Sejong's times who worked on the publication of "Euibangyoochui(醫方類聚)" and other major publications led by the royal family. This paper will review the works of Kim Su-On based on the medical background of early Joseon Dynasty and the medical book-reading officer system, and also evaluate his contribution to the development of medicine in early Joseon Dynasty, factoring in his life, ideas, and literary talent. By looking at the life of Kim Su-On, we can understand the role of Confucian doctors(儒醫) in the early Joseon Dynasty, how Confucian scholars who were learned in medicine supervised the compilation and correction of "Euibangyoochui(醫方類聚)". Especially, from the poetry of "Sikujip(拭疣集)", contents regarding the proofreading of "Euibangyoochui(醫方類聚)" between Im Won-jun and Kim Su-On shows the publication process of "Euibangyoochui(醫方類聚)" at the reign of King Sungjong. His outstanding achievements are largely due to the medical book-reading officer system implemented around the time "Euibangyoochui (醫方類聚)" was published. The medical book-reading officer system aimed to increase the knowledge of various matters for the civil service bureaucrats, allowing them to become high-ranking officials in the fields of technology. Its another purpose was to compile specialty publications. Many of the civil service bureaucrats who participated in the medical book publications arranged the theoretical basis of medicine and modified experience medicine to a new medical system. The first edition of "Euibangyoochui(醫方類聚)" at King Sejong's reign collected vast medical information into 365 books. Then it was corrected during King Sejo's reign then finally completed and published at King Seongjong's reign. During this period, the experience medicine inherited from Goryeo Dynasty was reestablished into a new form of theoretical interpretation.

• 한국의류학회지
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• 제16권1호
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• pp.111-122
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• 1992

Studying the dress style of the Buddhist Goddess of Mercy SU WOL KWAN EUM DO (Drawings on the Buddhist Goddess of Mercy who is watching the Moon reflected in the still water), it is composed of a splendid, jewel crown with five colors, a light and flimsy, non-colored veil with many kinds of gold·plated patterns. This gold·plated carapace figures on a scarlet ground are drawn on the veil and the oval-type flower figures mixed with a scarlet lotus blossom ard arranged. An arabesque pattern of BOSANGHWA (an imaginary, Buddhistic flower figure) is mainly used for both line decorations and necklace. Like this, various kinds and types of figures are in harmony in spite of many changes in figure design. The SU WOL KWAN EUM DO in Koryo dynasty is full of colorful, subtle, harmonious figures which are unique style, which cannot be found in japan, China, and so on. In other words, most of most of dress patterns which are shown in SU WOL KWAN EUM DO are China ink paintings with mountains and waters as its setting. In case of color painting, figure designs are seldom used. The dress pattern in SU WOL KWAN EUM DO of koryo dynasty is characteristic of its variety and magnificent colors.

• 한국수학사학회지
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• 제19권2호
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• pp.1-24
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• 2006

조선 산학의 퇴타술의 역사를 연구한다. 이상혁(李尙爀)$(1810\sim?)$의 익산(翼算)(1868)이 출판되기 전의 역사와 익산(翼算)의 결과로 나누어 연구한다. 경선징(慶善徵)$(1616\sim?)$의 묵사집산법(默思集算法)부터 남병길(南秉吉)$(1820\sim1869)$의 산학정의(算學正義)(1867)까지의 산서를 통하여 익산(翼算) 이전의 퇴타술은 큰 발전을 이루지 못한 것을 조사한다. 이상혁(李尙爀)은 조선(朝鮮) 산학(算學)에서 가장 독창적인 방법을 써서 새로운 결과를 얻어낸다. 그는 퇴타술을 구조적으로 해결하고, 또 새로운 문제인 절적(截積)과 이를 위한 분적법(分積法)을 도입하여 이의 구조도 완전히 밝혀내었다.

• 공연문화연구
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• 제33호
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• pp.9-31
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• 2016

석북 신광수는 시창(詩唱) "관서악부(關西樂府)"의 작가로 잘 알려진 조선후기의 시인이다. "관서악부"는 조선시대의 음악인들에게 인기가 있었던 시창이다. 그것을 통해 신광수의 한시에 선율을 붙여 노래 불렀던 전통이 이미 조선시대에 있었음이 확인된다. 이는 조선시대의 한시가 노랫말로 사용되었던 증거의 하나이다. 석북 외에도 조선시대의 문인들은 한시를 짓고 직접 노래했다. 이 경우 노래의 소통 공간은 작자 개인의 사랑방이 된다. 그러나 석북의 작품처럼 그것이 음악인들에 의해 노래로 불려질 때, 이는 많은 사람들과 소통하는 음악으로 공개된다. 이 글은 이미 조선시대에 사람들의 인기를 얻었던 석북 신광수의 한시와 음악을 이 시대의 무대에서도 소통될 수 있는 음악으로 만들기 위한 하나의 새로운 시도이다. 그의 한시를 일정 선율에 얹어 실제 무대를 통해 음악화한 작업의 사례를 소개함으로써 한시의 공연예술화에 대해 생각해 보는 기회를 갖기 위한 것이다. 신광수의 한시는 그 작품 수도 많지만 한시 하나하나에 그의 삶을 조망할 수 있는 내용이 포함되어 있다. 따라서 그의 한시 작품을 통해 그의 삶에서 있었던 주요한 사건을 이야기하는 '스토리텔링'이 가능해진다. 이에 본 연구에서는 신광수의 음악적 삶을 조명하고 그의 한시를 공연예술화하는 방식과 그 내용에 대해 소개해 보고자 한다.

• 복식
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• 제56권4호
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• pp.82-95
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• 2006

The purpose of this study is to figure out the types and characteristics of golden decoration technique out of various techniques of expressing patterns on the costumes. This study reviews both costumes decorated with gold in the relics of Chosun dynasty and literatures focused on domestic and Chinese documents and records. The types of decoration technique using gold include JigGeum (brocade technique), InGeum (gold powder and flake attaching technique), and GeumSaJaSu (embroidery technique). The JigGeum is weaved using golden thread instead of silk thread in order to express patterns. The InGeum technique is to attach gold or silver powder or thin gold or silver flake on the surface of the fabric. The GeumSaJaSu technique is to embroider with gold thread on fabrics. 82 pieces of costumes made using gold in Chosun dynasty era are analyzed. The results follows; In terms of types of technique, is shown to take the majority; JigGeum (43.90%), InGeum (30.49%), GeumSaJaSu (23.61%). Looking at the patterns used by the types, plant pattern and letter pattern are mostly used for both the JigGeum and the inGeum. In terms of the characteristics by their uses, the InGeum is used for court dresses (52%). It is also used for ordinary dresses (12%) and for other purposes (36%). It is mostly used in the court dresses in the late period of Chosun dynasty era. The JigGeum is used for ordinary dresses (47.22%), for court dresses (44.44%) and for other purposes (8.34%). It is evenly used for court dresses and ordinary dresses.