• 헤리티지:역사와 과학
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• 제52권2호
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• pp.142-171
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• 2019

용(龍)은 동서양 전설 신화에 등장하는 상상 속 동물이다. 서양의 용은 대부분 공격적이고 부정적 의미로 표현되지만, 동양에서는 황제를 상징하거나 상서로운 의미를 갖고 있어 긍정적 의미를 내포한다. 또한 용은 물을 다스리는 신물(神物)로 여겨져 그 종류가 다양해지고 이를 형상으로 표현하고자 했다. 고려시대 용과 관련된 기록은 "고려사"에서 다양한 주제로 등장하며, 크게 건국설화 기우제 신이(神異) 등과 관련되어 있다. 건국설화는 용을 통해 고려 왕권의 당위성을 강조하기 위한 것으로 '왕(王)=용손(龍孫)'이라는 '용손의식(龍孫意識)' 형성에 영향을 끼친다. 또한 용의 특징인 물을 다스리는 능력은 가뭄에 비를 바라는 기우제와 관련한 토용(土龍)으로 상징화된다. 이와 같은 용의 다양한 성격 중 용이 왕실의 상징이기에 용문(龍紋)의 사용은 민간에서 엄격히 제한되었으며, 용을 소재로 한 용문경(龍紋鏡) 역시 그 제작 사용에 있어 왕실과의 연관성을 배제하기 어렵다. 고려시대 쌍룡문경(雙龍紋鏡)은 종류 수량이 많은 편으로 중국에서 유입된 동경(銅鏡)과 함께 국내에서 제작한 쌍룡문경이 혼재하면서 고려시대 쌍룡문경의 제작과 유통은 다른 동경에 비해 활발했던 것으로 보인다. 이에 대해 본고에서는 10~14세기 중국에 존재한 다양한 쌍룡문경의 특징을 정리했다. 고려의 장인들은 쌍룡문경을 제작할 때 중국 쌍룡문경의 문양 구성에서 큰 영향을 받은 것으로 보인다. 이는 중국 쌍룡문경과 국적을 판별하기 어려운 예가 많으며, 그 차이 또한 면밀한 분석을 요하기 때문이다. 하지만 고려는 유입된 쌍룡문경을 그대로 답습했던 것은 아니며, 자체적으로 제작하고자 했음을 국내 현존하는 쌍룡문경의 유형 분류를 통해 살펴보았다. 세 가지 유형으로 나뉘는 쌍룡문경은 요대(遼代) 동경 계열인 I 유형이 가장 큰 비중을 차지하며, 그 외 II III 유형에서는 수량은 적으나 문양 구성이 독특한 쌍룡문경이 있어 고려에서 제작한 쌍룡문경으로 분석했다. 고려시대 쌍룡문경은 중국의 영향 하에서 제작된 만큼 고려에서 제작한 동경과의 구분이 어렵다는 점을 앞서 언급했다. 이중 평창 월정사 구층석탑에서 발견된 쌍룡문경은 그 제작지에 대한 의문점이 있으며, 동경의 문양 구성도 중국 쌍룡문경에서 찾아볼 수 없는 예이기에 이 동경에 대한 제작지를 검토했다. 이 쌍룡문경은 I 유형에 속하는 동경의 문양 구성을 갖추고 있으면서도 세부 문양의 조합이 중국에서 찾기 힘든 예라는 점에서 요대 동경의 문양 구성을 차용하여 고려에서 제작된 것임을 알 수 있었다.

• 복식
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• 제59권6호
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• pp.29-40
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• 2009

On April 28th of 2006, a set of Buddha's reliquary was excavated from the pagoda in n Nacsan Temple. According to the record, the relics were put in the pagoda in the 18th year of King SookJong in the Chosun Dynasty (1692). The present paper examines ten pieces of wrapping clothes covering reliquary found in the pagoda. They are especially precious data in the history of textiles because they were blocked off from outside and was preserved in good condition with vivid colors still remaining after more than 300 years. Of the ten pieces of wrapping cloth, five were double-layered and the other five were single-layered. They include 15 pieces of silk fabric but, excluding repeated use of the same silk fabric, the total of 11 pieces of silk fabric were examined. All 11 kinds of silk fabric were patterned, 9 of which were Satin and the other 2 were Twill. Of the 9 Satin pieces, 8 pieces were 5-end satin which had the ground of 5-end warp satin with the figure of 5-end weft satin. The remaining 1 Satin piece were more splendid with prominent figures by using warp and weft of different colors. The 2 Twill pieces used twill weave-the ground was 3-end warp twill and the figures were 5-end weft twill. Both of the Twill pieces were weaved with character patterns, partly using wrapped gold thread as supplementary weft. The patterns of 11 pieces of silk fabric include flower, dragon/phoenix, cloud, and geometric patterns. Five were flower patterns, three were dragon/phoenix patterns, two were geometric pattern, and one was cloud pattern. In addition, various treasure patterns, character patterns were utilized as supplementary patterns. The flower and phoenix patterns reflect characteristics of the textiles of the 17th century whereas check pattern and cloud pattern were very unique.

• 복식
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• 제57권6호
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• pp.87-100
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• 2007

In the Joseon Dynasty, a Court Ladies' full dress was Slanted by the Ming Dynasty. Since the Ming Dynasty had declined, a Court Ladies' full dress, Jeok-ui began to be made by the Joseon Dynasty. It was based on the Chinese Court Ladies' full dress, Desam, but it became Joseon's own style, which was different from the Chinese one. The formula of Jeok-ui was completed in the time of King Yongjo. Since then, Jeok-ui for big ceremonies was called Bub-bok. It was recorded on the Regular rule of Sang-uiwon. The color of Jeok-ui was departmentalized for the wearer; red one for the Queen, bluish black one for the Crown Princess, and purple one for the Queen mother. There were some differences between Jeok-ui for feasts and for big ceremonies. In the case of Jeok-ui for big ceremonies, the pattern of Hyung-bae for the Queen was a dragon with five claws, and for the Crown Princess, a dragon with four claws. On the other hand, in the case of Jeok-ui for feasts, the pattern of Hyung-bae was phoenixes for the Queen, Crown Princess and the Queen mother. The number of embroidered round badges, which were attached to Jeok-ui, was 51 for big ceremonies, and 36 for feasts. The skirt for big ceremonies was a Jeonang-ut-chima with dragons pattern for the Queen, and phoenixes for the Crown Princess. The Queen's skirt for feasts was a Jeonang-ut-chima with phoenixes pattern, and the Queen mother's also. The Crown Princess' was a double skirt with phoenixes pattern. The pearls were not decorated on the shoes for big ceremonies, but shoes for feasts had six big pearls fer decoration. When the royal woman wore Jeok-ui for big ceremonies, it was prepared for Kyu, Pe-ok and belt with jade. But those were not necessary for Jeok-ui for feasts.

• 복식
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• 제59권9호
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• pp.87-96
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• 2009

Dangui is a formal dress of the wives of high officers and royalty in Chosun Dynasty and it was worn as a day dress in palace and a semi-ceremonial dress in upper-class households. Among the remains of Dangui a double-layered Dangui was found in which two sets of Dangui were combined to be worn as a single piece. The double-layered Dangui consists of an Over-Dangui and an Under-Dangui. The results of the examination of the remains for the Over-Dangui are as follows. As lone as the colors of the remains are identifiable, all of the Over-Dangui were green, whereas the Under-Dangui and lining materials were red. The textile was mostly in woven silk with pattern and it was frequently decorated with golden wefts or foils. A breast embroidery with phoenix and a dragon embroidery were also found. Such Dangui was worn mostly by the high members of the king's palace including the queen, crown princess, bastard princess, and monarch. There were two exceptions of wearing Dangui outside the king's palace. A simple Under-Dangui was made to enable a comfort fit of the two sets of Dangui and the suture was partially sewn. With three doth strings and cuffs, two pieces of Dangui were eventually assembled into one piece of clothing. Differences between the remains and the documents were also found in regards to textile and wearers of Dangui.