• 미술자료
• /
• 제98권
• /
• pp.154-175
• /
• 2020

조선 후기 불화 조성 불사(佛事)는 화승(畫僧)과 승려(僧侶) 문중(門中)의 유기적 관계 속 협업으로 진행되었다. 불사에서 승려 문중은 사상을 담기 위하여 주제와 도상을 선택하였고, 화승과 화파는 이를 시각화하는 역할을 하였다. 그렇기에 조선 후기 불화의 이해를 위해서는 작가인 화승 및 그의 양식적 특징뿐만 아니라 조성 당시 사찰의 상황, 불사의 참여자 등을 파악하여, 조성 배경에 대한 다각적인 접근법이 필요하다. 본 논문은 이러한 방법론을 통해 호남 및 인근 지역에서 부휴문중과 불사를 함께 진행했던 18세기 대표 화승 의겸(義謙)을 중심으로 한 의겸파의 사례를 살펴보았다. 의겸파는 부휴문중의 종찰(宗刹)인 순천 송광사에서 1724년부터 1725년까지 2년간 진행된 불화 조성 불사에 참여하였다. 본 불사를 앞서 언급한 다각적 접근법을 통해 해석한 결과, 송광사 불화 조성 불사에 부휴문중의 영향을 파악할 수 있었다. 송광사 불화 조성 불사를 기점으로, 의겸파는 계속해서 호남, 호서, 영남 지역 등 부휴문중 영향권 내의 사찰과 그들이 주도한 불사에 활발하게 참여하며 부휴문중 사상 시각화에 주요 역할을 하였다. 그 결과 의겸은 부휴문중으로부터 '호선(毫仙)', '존숙(尊宿)', '대정경(大正經)' 등의 화승으로서는 이례적인 존칭까지 부여받았으며, 그의 화풍은 삼남(三南) 지역에 널리 퍼지게 되었다. 이처럼 순천 송광사 불화 조성 불사는 부휴문중이 의겸파와 협업하여 문중의 사상을 시각화한 대표 사례이며, 의겸파에게 인맥적, 지역적 기반을 제공하여 의겸이 조선 후기 대표 화승의 위상에 오를 수 있도록 일조하였다. 의겸의 이와 같은 위상과 그가 남긴 작품들은 이후의 조선 후기 불화에도 지대한 영향을 주었기에, 순천 송광사의 불화 조성 불사는 미술사적으로 큰 의의가 있다고 판단된다.

• 문화기술의 융합
• /
• 제8권5호
• /
• pp.437-444
• /
• 2022

본 연구에서는 우리나라 근대말 학교운동회, 학교들 연합운동회, 그리고 사회단체의 운동회의 개최 상황과 그 다양성에 대해서 서술하였다. 연구방법은 당시의 신문기사 자료를 검색하여 대표적 운동회의 당시 실제 기사를 자료로 하였다. 결론으로는 근대의 운동회는 우리나라 근대체육의 시작과 발전의 산실이었고. 우리의 선입견과 달리 민족주의적 성격만이 아닌 여러 성격이 있었다는 점을 강조하였다. 특히 당시 사회단체의 운동회를 기사화한 내용을 살펴보면, 운동회 주관단체도 근대체육 수용의 선구적 단체인 황성기독교 청년회 운동회만이 아닌, 일반 여성단체, 노동조합의 성격의 노동자 운동회도 개최되었음을 알 수 있다. 대한체육구락부의 창립직후 결의를 다지는 운동회, 순천 부인회의 서현여자학교 운동회 주관, 경성 급수상들의 운동회, 현재의 동문 운동회에 비견되는 서북학생 친목회 등의 운동회들이 개최되었다. 본고에서는 이들 사회단체 운동회의 다양성을 부각시키며, 동시에 가장 많이 열렸던 학교 운동회와 학교간 연합운동회가 우리나라의 근대 체육의 발전과 사회체육발전에 중요한 역할을 하였고, 국내의 여러 체육대회로 발전하는 계기가 되었음을 서술하였다.

• 역사민속학
• /
• 제33호
• /
• pp.31-72
• /
• 2010

이 글은 조선후기의 대표적 유서인 이수광(李晬光)의 『지봉유설(芝峯類說)』·홍만선(洪萬選)의 『산림경제(山林經濟)』·이익(李瀷)의 『성호사설(星湖僿說)』·이규경(李圭景)의 『오주연문장전산고(五洲衍文長箋散稿)』에 수록된 민속종교 관련 자료들을 살펴본 것으로, 먼저 4종의 유서에서 민속종교 관련 항목들을 추출하여, 그 내용을 표로 제시하였다. 다음으로 이들 유서류에서 언급된 민속종교 관련 자료들의 성격과 내용을 살펴보았다. ① 이들 유서들은 전대의 것이 후대의 것에 상당한 영향을 미치면서 많은 공통점을 가지게 되었지만, 한편으로는 저술 목적에 따라 차이가 있다. 즉 『지봉유설』·『성호사설』·『오주연문장전산고』는 백과전서식 저술답게 민속종교의 다양한 측면을 전하는데 비해 『산림경제(山林經濟)』는 실생활에서 발생할 수 있는 문제와 그 해결이란 실천적 내용이 중심을 이루고 있다. ② 이들 유서는 민속종교를 부정적인 것으로 인식했다. 그것은 이들 유서가 기본적으로 유교적 관념에 기초했기 때문이다. 그러나 완전한 부정에는 이르지 못하고, 영험성의 일부를 인정하기도 했다. ③ 조선시대 민속종교의 신앙대상들, 즉 성황신·업신·질병신·금부대왕신(金傅大王神)·정득양(鄭得揚)·관왕신(關王神)·부근신(付根神) 등에 대한 유서류의 내용을 살펴보았다. ④ 이들 유서류들은 귀신에 대해서도 공통적으로 관심을 보였는데, 그들의 귀신론은 기본적으로 성리학에 기초한 것이면서도 그 영험성으로 말미암아 민속종교의 귀신론을 일부 수용하고 있다. ⑤ 이들 유서류에서는 공통적으로 점복에 대해 상당한 관심을 가지고 있다. 그렇지만 개인의 운명에 관한 점복은 부정적으로 인식했고, 농사의 풍흉점에 대해서는 긍정적으로 이해하려 했다. ⑥ 이들 유서류에는 저주와 벽사에 관한 항목들도 상당수 있어, 이를 살펴보았다. ⑦ 무격은 민속종교의 성직자로서 민속종교의 핵심에 서 있는 존재이기 때문에 이들 유서류에서 공통의 관심사가 되었다. 이들 유서에서 무격은 부정적으로 묘사되고 있지만, 그 영험성의 일부는 인정하고 있었다. 그렇다고 한다면 이들 유서류들은 비록 민속종교에 대해 부정적인 입장을 취하고 있고 잘못된 정보를 제공하기도 하지만, 조선후기 민속종교의 다양한 사실들을 전한다는 점에서 자료적 가치를 간과할 수 없다. 따라서 이들 유서류들은 향후 민속종교 연구에서 반드시 심도 있게 검토되어야 할 자료라 하겠다.

• 건축역사연구
• /
• 제28권3호
• /
• pp.7-18
• /
• 2019

This study analyzed "Bukgwol Dohyeong (Drawing Plans for the Northern Section of Gyeongbokgung Palace)", which is an important source material for the restoration of the palace, by applying Paltaekron, the geomantic principle of bearings, in order to clarify the building layout principle of Gyeongbokgung Palace. Gyeongbokgung Palace shows the typical geographical conditions that meet the principle of Baesan Imsu (mountain in the back and water in the front) which takes Baegaksan Mountain as the main mountain and the overall layout of the buildings that meet the principle of 'Jeonchak Hugwan (narrow in the front and broad toward inside)' by using the natural topography that meets the principle of 'Jeonjeo Hugo (low in the front and higher toward back).' It is estimated that this layout and arrangement must have been led by geomantic principle of bearings. The analysis of the building layout plan of Gyeongbokgung Palace in the late Joseon Dynasty Period suggests the application of two methods: one is to divide central area from Gwanghwamun Gate to Geoncheongung Hall into eight layers and the other is to apply the bearings of the Eight Trigrams based on the building that becomes the center. As a result, the gate, main hall, and kitchen of all major buildings where the royal family lived are located in the auspicious bearings according to the geomantic principle of bearings while the spaces where people other than the royal family such as those who served the royal family and the officials operated in the palace or the hall that enshrines the ancestors such as Taewonjeong Hall are located in the ominous bearings. Therefore, the buildings of Gyeongbokgung Palace are arranged based on the geomantic principle of bearings.

• 한국의사학회지
• /
• 제32권1호
• /
• pp.63-76
• /
• 2019

The $S{\bar{u}}tra$ of Great Dhāraṇī of the Uṣṇīṣa-cittā is one of the most widely published scriptures of Esoteric Buddhism during the Goryeo and Joseon dynasty. The sutra is often referred to as a Buddhist medical scripture whose recitation is believed to allay diseases such as difficult birth, chest pain, and infectious and incurable diseases. It utilizes two major methods for healing: reciting and copying the sutra or copying the dharani and talisman which appear at the end of the text with fine cinnabar and ingesting them with aromatic water. In order to understand the medical and historical value of this sutra, this study examines the historical background of its establishment in early China and its migration to Korea in the Goryeo period. This study also investigates the identity and value of the scripture in Buddhist medical history. The oldest known printed texts of the sutra in Korea are dated to the late 11th century. Because of the material benefits of the text, the tradition of printing and distributing the sutra was very popular between the 13th and 19th centuries. Therefore, examples of the sutra having been used for medicinal purposes during rites are found in historical records. Finally, the study tries to identify the relationship between the treatment methods of the Sutra and those of Korean traditional medicine focusing on several Korean traditional medical texts such as the Hyangyak-Jibseongbang (Compilation of Native Korean Prescriptions), the Donguibogam, and the Euibang-Hapbu.

• 천문학논총
• /
• 제34권1호
• /
• pp.1-16
• /
• 2019

"Hon-Chon-Jeon-Do" is a woodcut star map with the size of $79.4cm{\times}127.5cm$, and was widely disseminated as it was made into a set with Kim, Jung Ho's "Yeoji-Jeon-Do". This study confirmed that Yixiang kaocheng xubian ("의상고성속편") star catalogue was used as a source to produce the star map, and the stereographic projection was applied with the projection center being the mid-point (Q) between the celestial and ecliptic north poles. The 'mid-circle' around the Q is arisen between the equator and the ecliptic, and on this circle, the hour angle and the ecliptic longitude of a star can be marked using the same scale. This means that the hour of the day and the season of the year can be read on the same dial of the mid-circle, and the application of this character in the practical use was the key point of the star map production. By observing either transits or positions of the 28 xiu (宿), it is easy to find the corresponding season and time by simply reading the dial on the mid-circle. This is just the function of a portable almanac and thus by disseminating it widely, the convenience of the people would have been promoted. For this reason, it can be stated that "Hon-Chon-Jeon-Do" was a practical astronomical tool which was produced by the western astronomical projection method and was used to find time and season. Choi, Han Ki and Kim, Jung Ho are strong candidates for the makers of this star map. The time of production is estimated to be 1848 ~ 1857, and "Hon-Chon-Jeon-Do" could be regarded as a good contributor to popularization of astronomy in the late Joseon Dynasty.

• 천문학논총
• /
• 제37권3호
• /
• pp.35-47
• /
• 2022

This study investigated the stone Angbu-ilgu (scaphe sundial) of the Korea Meteorological Administration (KMA) and the Seoul Museum of History (SMH). Since the first Angbu-ilgu was produced in Korea in 1434 (the year of the reign of King Sejong), Angbu-ilgu has been reproduced with various materials. The upper surface of these two stone Angbu-ilgus symbolizes the horizon. On the hemisphere concave at the center of the horizon, the South Pole, the time line, and the season line are engraved. On the horizon of both the KMA and SMH Angbu-ilgus, the schematic, typeface, and composition of the inscription completely coincide with each other. In this study, it was estimated that the appearance of the KMA Angbu-ilgu, which was damaged at some point previously at least once, was similar to that of the SMH Angbu-ilgu, and this means that it is superficially similar with Treasure No 840, the stone horizontal sundial. In the concave hemisphere of both the stone Angbu-ilgus of the KMA and SMH, there are hour lines and 24 solar-term lines (13 line), and there is an intersection point where these lines meet the horizon, respectively. It can be verified that these intersections of these two Angbu-ilgus can be calculated as having a latitude of +37°39'15". The hour lines of the two stone Angbu-ilgus show that they were made after about 1900.

• 한국식생활문화학회지
• /
• 제37권5호
• /
• pp.418-428
• /
• 2022

Research on the birth (起源) and names (語源) of foods such as kimchi is important to understand traditional food culture. kimchi, an 'add flavored, fermented, pickled, vegetable food' was initially prepared with the simple purpose of increasing storage capabilities, but later, through a complex process of change, morphological diversification occurred. In addition to the basic name of 'kimchi', each variety has its unique name and history. This study was conducted through qualitative research using various research methods, such as oral records and interviews, as well as investigation of data from literature, including ancient literature, modern cookbooks, newspapers, magazines, papers, and videos. The study sought to investigate the context and the meaning of the name Chonggak kimchi. In addition, it is a compilation of how the name spread through the ages and evolved to its current name. The name Chonggak kimchi did not exist during the Joseon Dynasty and Japanese occupation and first appeared in the records in the late 1950s. Nevertheless, the original name of 'Altarimu kimchi' evolved and finally became a part of the standard Korean language (標準語) in 1988. In the process of the name spreading and becoming popular, the movie "Chonggak kimchi (1964)," starring Shin, S.I., and Eom, A.R. played a significant role. It was also confirmed that this was a meaningful and valuable case of contentization of traditional food culture, regardless of the intention behind the same.

• 복식문화연구
• /
• 제31권4호
• /
• pp.411-429
• /
• 2023

Modernism is an internationally accepted design style. In addition, traditional Korean costume is not the clothing of the past, but its form is also used in modern fashion. Therefore, the purpose of this study is to examine the social and cultural contents of the morphological structure of traditional Korean costume, in order to derive the design characteristics of modernism and examine the global applicability of traditional Korean costume structure. For this study, photographic materials from museums, schematic drawings of relics, and Hanbok production books published by government agencies were analyzed. Further, this study examined traditional Korean costume, especially the modernism characteristics derived from Paul Greenhalgh and previous studies. The results are as follows. First, The traditional Korean costume is a cut based on basic shapes, along with a silhouette appears according to the background of the times. Second, the characteristics of modernism can be divided into universality, functionality, and simplicity. Third, as a result of analyzing the form structure of traditional Korean costume based on the characteristics of modernism, universality is expressed as standardized form, functionality as practical aesthetics, and simplicity as sustainable diversity. Furthermore, Korean costume has a difference in that was greatly influenced by various Eastern ideas and aesthetics of the late Joseon Dynasty. These findings provide a perspective of modern reinterpretation of the uniqueness and universality of traditional Korean costume in line with globalization by utilizing the design characteristics of modernism, an international style.

• 한국식생활문화학회지
• /
• 제23권4호
• /
• pp.438-447
• /
• 2008

"Gyuhapchongseo" was published in 1809, and introduced the cooking method of the noble class in the late Joseon dynasty. The characteristics of the side dishes in "Gyuhapchongseo" are as follows. Firstly, red pepper was used as whole red pepper, shredded red pepper, powdered red pepper, or Korean hot pepper paste. Secondly, salt-fermented fish was used in some forms of Kimchi, including Sukbakgi, Dong A Sukbakgi, and Gyochimhae. Thirdly, to retain the juiciness of meat during roasting, meat was spread cold water on the surface, dipped into the washing water of rice or wrapped with wet paper. Fourth, to improve the visual effect of a dish, cooked foods were displayed with various color schemes, panfried foods with two tones (egg white and yellow) of color on each side and the use of radish pigmented with deep red color. On examination of the characteristics of food in "Gyuhapchongseo", I would suggest applicable practices for the present cuisine. The use of gravy produced from the boiling down of fish flesh could raise the nutritive value of Kimchi. In "Gyuhapchongseo", Yak po (semi-dried minced beef) is noted as being good for elderly people with bad teeth. A steamed dish with dog meat in Dong A in "Gyuhapchongseo" is made by hollowing out Dong A and putting a dog in it to cook the dog meat to well done in a fire made with the hulls of rice. This technique could be used to present cuisine for steamed and roasted dishes using food ingredients such as pumpkin, sweet pumpkin, and overripe cucumber.