궁중 제례악 복식의 변천과 그 의미: 개화기 이후 일제강점기까지

이숙희 국립국악원 2016 국악원논문집 Vol.33 No.-

이 논문은 개화기 이후 일제강점기까지 문묘제례악과 종묘제례악의 연주복식과 일무복식을 중심으로 궁중제례악 복식의 색상과 재료 그리고 형태 등의 변화를 살펴보고, 그 변화된 궁중제례악 복식이 갖는 역사적 의의를 찾는데 목적이 있으며, 현재 전승되는 궁중제례악 복식의 역사성을 조망하는 데 의의가 있다. 문묘제례악 연주복식의 문제는 백주대와 오피리가 어느 시기에 어떤 계기로 남사대와 목화로 바뀌었는지에 관한 것인데. 문묘제례악 연주복식의 백주대는 늦어도 1921년 이후에 남사대로, 오피리는 1930년 이전에 목화로 바뀐 것으로 나타났다. 문묘제례악 일무복식의 문제는 검은색의 조주의가 언제 어떤 계기로 붉은색의 홍주의로 변화되었는가 하는 것과, 금동혁대는 언제 어떤 계기로 남사대로 바뀌었는지, 또 오피리가 언제 목화로 바뀌었는지에 관한 것인데, 1897년에 조주의는 홍주의로, 백주대는 남사대로 바뀌었고, 오피리는 1930년 이전에 목화로 바뀐 것을 알 수 있었다. 종묘제례악 연주복식 문제는 개화기 무렵 흑사대였던 대가 어느 시기에 남사대로 바뀌었는지, 오피리는 어느 시기에 목화로 바뀌었는지에 관한 것인데, 흑사대는 1892년에 남사대로 바뀌었고, 오피리는 1930년 이전에 목화로 바뀌었음을 알 수 있었다. 다만 종묘제례악 연주복식의 경우 흑단령과 흑립을 착용한 경우도 있어 연주복식이 정립되지 않은 시기도 있었다고 보았다. 종묘제례악 일무복식 문제는 관(冠)․의(衣)․대(帶)․리(履)의 변화가 언제 어떤 계기로 생기게 되었는지에 대한 것인데, 종묘제례악 문무(보태평) 복식은 1897년 이전에 진현관은 복두로, 남주의는 홍주의로, 적말대는 남사대로 바뀌었고, 오피리는 1930년 이전에 목화로 바뀐 것으로 나타났다. 무무(정대업) 복식도 피변이 복두로 바뀌었고 나머지는 문무(보태평과) 동일하게 바뀌었고, 그 시기도 동일했다. 이상의 내용을 종합해 보면 변화 시기에 있어서 종묘제례악 연주복식의 변화가 가장 먼저 시작되었고, 문묘제례악 연주복식이 가장 나중에 변화되었다. 변화 내용 면에서 종묘제례악과 문묘제례악의 일무복식의 변화가 가장 컸다. 연주복식의 변화 시기는 1892년, 1897년, 1921년, 1930년이 기준이 되었다. 1892년은 임진왜란 300주년되는 해로, 이 때 악제의 개정이 있었고, 1897년은 대한제국의 건립으로 인해 악제가 개정된 해이다. 1921년과 1930년은 일제강점기에 속하는 해이며, 이 떄의 변화는 일제강점이 변화의 요인인 것으로 볼 수 있었다. 이와 같은 복식의 변화 결과 문묘제례악 연주복식과 종묘제례악 연주복식의 구분이 없어졌고, 또 연주복식과 일무복식의 구분도 없어졌다. 문묘제례악의 문무와 무무의 관은 서로 구분되지만, 종묘제례악의 일무의 관은 문무(보태평)와 무무(정대업)가 복두로 통일되었다. 대(帶)는 모두 남사대로 통일되었고, 오피리는 모두 목화로 통일되었다. 조선시대 궁중 연주복식은 정해진 규정이 있었으나 시대에 따라 변화되었고, 특히 개화기 이후 일제강점기까지의 변화는 다른 시대의 변화와는 다른 의미를 갖는다. 즉 각 제례의 종류와 용도별로 다르게 규정되어 있던 제례악 복식이 거의 동일한 형태로 통일됨에 따라 각 제례악 복식이 갖는 의미가 퇴색되었고, 다양성이 사라졌다. 개화기 이후 일제강점기까지 궁중제례악 복식의 변화의 계기는 1892년의 임진왜란 300주년, 1897년의 대한제국의 건국 등 이... The study aimed to examine transition based on Yukjeonjorye compiled right before 1876 with regard to the time of change of shapes and colors by costume component and the background centering on performers of Deungga and Heonga used in royal ancestral rites music and ritual music in the Confucian shrine as well as Munmu lmuweon and Mumu lmuweon. With regard to performance costume for Deungga and Heonga used in ritual formalities in the Confucian shrine, Baekjudae and Opiri were changed after the period of modernization. Baekjudae turned into Namsadae after 1921 and Opiri was transformed into Mokhwa before 1930. As for costume for Munmu and Mumu of Ilmu used in ritual formalities in the Confucian shrine, Jojuui, Baekjudae and Opiri were changed. Jojuui was transformed into Hongjuui in 1897, and Baekjudae was changed into Namsadae. Opiri was transformed into Mokhwa before 1930. With regard to performance costume for Deungga and Heonga used in royal ancestral rites, only the Heuksadae and Opiri were changed. Heuksadae was altered to Namsadae in 1892, and Opiri was transformed into Mokhwa before 1930. As for Munmu (Botaepyeong) costume worn during the royal ancestral rites, Jinhyeonwan was changed into Bokdu in 1897, and Namjuui was transformed into Hongjuui, and Jeokmaldae was modified to Jeokmaldae. Opiri was changed into Mokhwa before 1930. As for Mumu (Jeongdaeeop) costume, Pibyeon was changed into Bokdu, and the remainder was transformed in the same way and at the same time as Munmu (Botaepyeong). In summary, performance costume for Deungga and Heonga used in the royal ancestral rites music was changed the first, and that worn during the ritual formalities in the Confucian shrine was transformed the latest. Ilmu costume worn during the royal ancestral rites and the ritual formalities in the Confucian shrine was changed the most. As for the performance costume for Deungga and Heonga used in the royal ancestral rites and the ritual formalities in the Confucian shrine, only the Dae was changed. However, in case of performance costume worn during the royal ancestral rites, Heukdanryeong and Heukrip were worn, which indicates that the performance costume was not properly established once. The time of change in costume was based on 1892, 1897, 1921 and 1930. Akje was revised in 1892, the 300th anniversary of the Japanese Invasion of Korea in 1592, and as the Daehan Empire was established in 1897, the Akje was amended. The year 1921 and the year 1930 belonged to the Japanese colonial era, and Japanese occupation is considered as a reason for the change. As a result of changes in costume, distinctions between costume worn in the ritual formalities in the Confucian shrine disappeared, and division between performance costume and Ilmu costume ceased to exist. Munmu and Mumu wore different hair bands during the ritual formalities in the Confucian shrine, but in the royal ancestral rites, Munmu (Botaepyeong) and Mumu (Jeongdaeeop) wore Bokdu. Dae was unified as Namsadae, and Opiri was integrated as Mokhwa. There were regulations on court performance costume during the Joseon Dynasty, but they were revised as time went by, and changes in the Japanese colonial era after the modernization period have different meanings from transition of costume from other eras. As the performance costume that was distinguished by ritual was unified in a similar way, their distinction became meaningless, and their diversity disappeared. The performance costume worn during the royal ancestral rites that had been transformed from the modernization period to the Japanese colonial era carries historical significance in that they have been handed down until today.

조선시대 궁중복식 속의 전통문양을 활용한 헤어 장신구 디자인 개발

황주연 ( Ju-yeon Hwang ),김성남 ( Sung-nam Kim ) 한국미용예술경영학회 2021 미용예술경영연구 Vol.15 No.1

과학의 발달로 인한 통신수단의 진화는 문화의 교류를 촉진시키고 각국의 정보를 쉽게 접하게 한다. 이는 다양한 형태의 문화를 사회적으로 재생산하고 있으며, 이러한 정보는 현대인들의 사고에 지대한 영향을 미쳤으며 지구촌이 하나로 사회화되어 함께 문화를 생산·소비하고 있다. 각 나라들은 자신들의 문화와 자연, 역사, 유물 등을 상품화하여 세계인들을 불러들이고 있다. 미국의 헐리우드 영화는 문화상품을 넘어 산업화되었으며, 디즈니사의 만화 영화 캐릭터들은 전 세계 어린이들의 사랑을 받으며 장난감, 생활용품, 학용품 등으로 판매되고 있다. 한국의 K-Pop, K-Beauty는 전 세계적으로 훌륭한 성과를 창출하고 있다. 고로 한국의 궁중의상과 궁중의상속의 전통문양을 고찰하여 헤어 장신구를 만들어 보고자 한다. 본 연구는 디자인 개발에 앞서 조선의 궁중복식과 궁중복식속의 전통문양 자료를 연구·고찰하여 전통문양의 종류와 각 문양 속에 깃든 의미와 그 의미들이 가지는 상징성과 특성들을 알아보고 평면적인 전통문양을 조형미를 가미한 입체 형태로 재해석하여 헤어 장신구로 개발 가능한 7가지 문양을 선정·응용하여 작품을 제작하였다. 연구의 결과는 조선 궁중복식 속의 문양을 활용하여 입체적인 헤어 장신구 디자인을 개발해 우리나라 전통의 미를 현대적으로 해석함으로써 이를 통해 우리나라 전통문화의 우수성과 아름다움을 K-Pop, K-Beauty와 함께 알릴 기회와 가능성을 높이고 한국의 전통과 자연이 담긴 헤어 장신구 디자인 개발의 아이디어 제공에 기여하고자 한다. The evolution of communication through the development of science promotes cultural exchanges and facilitate access to information from each country. It reproduces various forms of culture socially. Information greatly affects modern people's thinking, and the global village is socialized as one, producing and consuming culture together. Each country is bringing people from all over the world by commercializing its culture, nature, history, and relics. Hollywood movies of the U.S. have been industrialized beyond cultural products, and Disney's cartoon characters are loved by children all over the world and sold as toys, household goods, and school supplies. Korea's K-Pop and K-Beauty are creating great results around the world. Therefore, I would like to make hair ornaments by considering the traditional patterns of Korean royal costumes and royal inheritance. Prior to the design development, this work is produced by researching and examining traditional patterns of Joseon and royal costumes, identifying the types of traditional patterns, the meanings and characteristics of each pattern, reinterpreted the flat traditional patterns into a three-dimensional form with formative beauty, and produced seven patterns that can be developed as hair ornaments. The results of this study are to develop three-dimensional hair ornament designs using patterns in the royal costumes of Joseon and to interpret the beauty of Korean traditions in a modern way, thereby enhancing opportunities and possibilities to promote the excellence and beauty of Korean traditional culture with K-Pop and K-Beauty and contributing to the development of hair ornament designs containing Korean traditions and nature.

2000년대 이후 TV 사극에 나타난 여자 가례복식에 관한 연구

이지은(Ji Eun Lee),이호정(Ho Jung Lee) 한국복식학회 2022 服飾 Vol.72 No.5

조선 후기 궁중무용복식의 복색사상 연구 (Ⅰ)

남후선(Hoo Sun Nam) 한국복식학회 2000 服飾 Vol.50 No.4

The court dancing suit, so-called JeongJae(呈才) suit, has been worn by court dancers on the occasion of the royal court`s feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national quests from foreign countries. There are 53 kinds of court dancing suits, ranging from the age of the ancient Three Kingdoms to the period of Chosun Dynasty. The court dancing suits are divided into two styles; DangAk-JeongJae(唐樂呈才) style and HyangAk-JeongJae(鄕樂呈才) style, depending on dancing styles. Since the court dancing suits in the age of the ancient Three Kingdoms and Koryo Dynasty have already been studied previously. this study discussed the change of dancing suit styles created in the latter period of Chosun Dynasty, such as YukHwaDae(六花隊), MuSanHyang(舞山香) and ChoonAengJeon(춘앵전), and the thought of Yin-Yang and five elements(陰陽五行思想) that the colors of the court dancing suits imply. The purpose of this study is to understand the thoughts contained in the ancient suits as well as their styles in order to inherit and uphold our traditional culture properly.

순조대 궁중무용복식 고증과 디지털콘텐츠화

박가영(Park Ga-Young),이은주(Lee Eun-Joo) 한복문화학회 2008 韓服文化 Vol.11 No.1

This is a historical research about the costumes of the dancing boys and women for the royal court dancing of the Spring Orioles(Chunaeng-jeon), during the reign of King sunjo(r. 1801-1834). Through the use of computer graphic techniques, their actual shapes are revived as the forms of digital contents. This efforts will contribute for the better understanding of the related areas, as well as enhancing the cultural contents business. According to the documents of the dancing sections In the National Ceremonial Records(Uigwe 儀軌) of the Joseon, very different costumes were attired for the boys and the women in this same dance. Boys dancing costumes were made of agyeonmo, baekjilheukseoncheonsuui, oksaekjilheukseonsang, noksagwaeja, honghansam, osadae, hohwa, whereas the women dancing costumes were composed of hwagwan, hwangchosam, hongchosang, hongdangeumnusudae, chorokye, ochaehansam, honggeumsugu, chorokapi. But they shared the same nature of large, long, and colorful nature compared with the other dancing costumes. This feature seems to be representing the characteristic of the work, the Chunaeng-jeon.

朝鮮 後期 宮中舞踊服飾의 服色思想(Ⅱ)에 關한 研究

남후선(Hoo-Sun Nam) 한국의상디자인학회 2003 한국의상디자인학회지 Vol.5 No.1

『순조무자진작의궤』에 나타난 궁중무용복식의 고중 및 디지털콘텐츠화

박가영(Park Ga-Young) 한복문화학회 2010 韓服文化 Vol.13 No.1

This is a research of the costumes appearing in the Sunjo Muja Jinjak Uigwe for their digitalization through computer graphics. The bock is considered as one of the most important sources for our understanding of the court dance during the Joseon Dynasty. The costumes shown in the bock are classified for further analyses. And their structures and actual shapes of attires are suggested according to the different presentations in dancing. Both plane and three-dimensional appearances are shown through computer graphics. Through this study the following results are derived. First. the costumes as much as the dances themselves are as colorful and diverse to meet the established fame of Crown Prince Hyomyong as one of the most distinguished leaders in the arts of the Joseon Dynasty. He rearranged the already existing court dances and created new numbers for court entertainment. And for this purpose he produced matching costumes for the best of the performances, to be inherited until today through the sunk: Muja Jinjak Uigwe. Secondly, there are remarkable differences in costumes between the two banquets of February and June of 1828, although they are only four months apart. We can not only notice newly created costumes, but also find the completely changed costumes of the music director and musicians. Thirdly, this study discovered that there are differences between the court dance costumes from the costumes used today. There are some fundamental misunderstandings about the costumes themselves, as well as mistakes in wearing them. They can be the results from the lack of knowledge and understanding about the costumes, and demand urgent inter-disciplinary researches and contacts to solve the problems. This kind of research for the digitalization of Korea's traditional cultures can hopefully contribute greatly for the growth of culture contents industries in Korea.

장생보연지무, 연백복지무, 제수창, 최화무 복식에 관한 연구

남후선 ( Hoo Sun Nam ),김순영 ( Soon Young Kim ) 한국의류산업학회 2013 한국의류산업학회지 Vol.15 No.6

This study explores the types, shapes and changes of the court dance garments of mudong[child court dancer] and yeoryeong[female court dancer] for court dances such as Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang, and Choehwamu, and the arrangement of colors in their garments. The conclusion of the study is as follows: First, the type of garments of mudong varied according to the type of dance, role of mudong and passage of time. In all four jeongjae`s, hongpo[red robe] and baekjilheukseonjungdaneui[white under garment trimmed in black] were commonly found. Second, the dress of yeoryeong in the Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu was that of other yeoryeong, which was basically comprised of hwagwan[flower headdress], hwangchosam[yellow robe], hongchosang[red skirt] and sudae[embroidered belt]. Third, the color schemes of the court dance garments used in Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu revealed that the color arrangement of sangsaeng [mutual generation] of the Ohaeng[Five Elements] scheme were favored in the garments of mudong and yeoryeong. The dress of mudong is characterized by sangsaeng between top and bottom, and between total and part, while the color scheme of the outer and inner was sanggeuk[mutual overcoming]. As for yeoryeong, the color arrangement was of sangsaeng in top and bottom, outer and inner, and total and part, but in the five-colored hansam[sleeve extension], both sangsaeng and sanggeuk were found.

朝鮮 後期 宮中舞踊服飾의 服色思想(II)에 關한 硏究 -佳人剪牧丹.高句麗舞.公莫舞.萬壽舞를 중심으로-

남후선 한국의상디자인학회 2003 한국의상디자인학회지 Vol.5 No.1

The court dancing suit, so-called "JeongJae(呈才) suit," has been worn by court dancers. Since the court dancing suits in the age of the ancient Three Kingdoms and Koryo Dynasty have already been studied previously, this study discussed the change of dancing suit styles created in the latter period of Chosun Dynasty, such as GaInJeonMok-Dan(佳人剪牧丹)ㆍGoGuRyeo-Mu(高句麗舞)ㆍGongMak-Mu(公莫舞)ㆍManSuMu(萬壽舞), and the thought of Yin-Yang and five elements(陰陽五行思想) that the colors of the court dancing suits imply. The purpose of this study is to understand the thoughts contained in the ancient suits as well as their styles in order to inherit and uphold our traditional culture properly. properly.

TV 사극 <이산>의 현대적 감각의 의상디자인 개발 -주요 여자 등장인물들의 의상을 중심으로-

이금희,이혜란 복식문화학회 2010 服飾文化硏究 Vol.18 No.1

The purpose of this study was to examine the process to manufacture costume design of main female characters of TV historical drama〈Lee San〉and suggest the costume, which is developed with contemporary taste. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The study results were as follows. The costume was decided by researching historical investigation material on the basis of synopsis, grasping director's basic intention, setting design direction, preparing design map of each character, selecting style, detail, fabric and color, manufacturing sample and performing camera test. The design concept of〈Lee San〉was Modern & Chic & Clean, short & fitted chogori, chima with wide & abundant cocoon silhouette, clean & bright colors and 100% silk fabric. For the design discrimination of royal semi-formal costume, color was used to symbolize character and pattern was used to symbolize social status. In addition, detail change was adopted depending on the body shape of actor and there was almost no design discrimination in silhouette and fabric. Petticoat of the west, modernization of transitional pattern and change of detail were adopted as design elements to add contemporary taste.