1828년 연경당진작(演慶堂進爵)에 설치한 간이무대(簡易舞臺)에 관한 연구

석진영 대한건축학회 2023 대한건축학회논문집 Vol.39 No.11

효명세자 대리청정 시기 효명세자가 기획한 연향에서는 독창적인 공간과 무대가 구성되었으며, 창의적인 무대가 연출되었다. 효명세자 대리청정시기 새로운 정재에 간이 무대가 등장한다. 춘대옥촉에는 윤대(輪臺), 무산향에는 대모반(玳瑁盤), 영지에는 영지(影池), 선유락(船遊樂)에는 채선(彩船), 춘앵전에는 단석(單席)의 간이무대가 제작되어 정재 순서에 따라 보계(補階) 위에 설치되었다. 선유락의 채선은 이전 시기의 무대를 계승하였고 무산향, 영지, 춘앵전, 춘대옥촉은 새롭게 만들어졌다. 무산향의 대모반과 춘앵전의 단석은 이후 계승되었다. In the banquets planned by Crown Prince Hyomyung during the period of the reign of Crown Prince Hyomyung, an original space and stagewere composed, and a creative stage was produced. A simple stage appears in the new Jeongjae during the period of cleanliness of CrownPrince Hyomyung. A simple stage with Yundae (輪臺) in Chundaeokchok, Daemoban (玳瑁盤) in Musanhyang, Yeongji (影池) in Yeongji,Chaeseon (彩船) in Seonyurak (船遊樂), and Danseok (單席) in Chunnaengjeon. was produced and installed on the pagoda according to theorder of installation. Chaeseon of Seonyurak inherited the stage of the previous period, and Musanhyang, Yeongji, Chunaengjeon, andChundaeokchok were newly created. The great rebellion of Musan-hyang and the danseok of Chun-eeng-jeon were inherited after that, and theYeong-ji was changed to a jidang plate and inherited. Yoondae appears only during the period of Crown Prince Hyomyeong. Among thesimple stages attempted during the period of Crown Prince Hyomyeong, the Yundae (輪臺) is the largest in scale, followed by the GreatRebellion (玳瑁盤), Youngji (影池), and Danseok. In the case of Yundae, Great Rebellion, and Danseok, Muwon (舞員) goes up and spreadsthe government, but Yeongji has a characteristic that no person climbs. The size of the simple stage is in the order of ring belt, great nevus,youngji, and short stone. It can be seen that the ring belt has the highest size and artistry, and the practicality is single stone, and the ringbelt with limited mobility has not been inherited. Among the creative renditions attempted during the period of Crown Prince Hyomyeong,Chundae Okchok, Musanhyang, Yeongji, and Chunaeengjeon were characteristic renditions that appeared during Yeongyeongdangjinjak, andthey built a special stage according to the rendition to enhance the perfection of the rendition. Yeongyeongdang installed the fences of thesouth gate and the east gate as temporary boards for the efficiency of the space for the banquet. It was a convenient space configuration tomove the stage, such as the Great Rebellion and Youngji. Crown Prince Hyomyeong, who conducted the politics of Yehyang, created asplendid simple stage to show the political system in Yeonhyang and reflected it in the Jeongjae (呈才).

국내외 무인항공기 기술동향

석진영 충남대학교 산업기술연구소 2004 산업기술연구논문집 Vol.19 No.1

해외 무인항공기 기술동향

석진영 한국공학교육학회 2004 Ingenium(人材니움) Vol.11 No.1

전국 실내비행체 경연대회를 통한 초소형 비행체 설계 분석

석진영,남중설,구삼옥,정인재,정창화,김성남 한국항공우주학회 2013 한국항공우주학회 학술발표회 논문집 Vol.2013 No.4

국내에서는 다양한 항공기 설계 경연대회가 각 기관에서 개최된다. 그중에 현재 개최되는 대회 중, 주로 대학생을 대상으로 하는 대회로는 올해로 14회를 맞는 경상대학교 전국대학생 자작모형 항공기대회, 4회를 맞이하는 국제 신비차 경연대회와 올해로 10회를 맞이하는 충남대학교 전국 실내비행체 경연대회가 있다. 본 논문에서는 한국에서 개최되는 다양한 모형항공기 대회를 소개하는 한편, 그동안 개최되었던 전국 실내비행체 경연대회의 결과를 정리, 분석하고자 한다. 분석되어진 결과를 토대로 실내에서 비행하기에 적합한 항공기의 종류, 날개길이 및 가로세로비 등 설계변수의 최적값을 도출하였다. A variety of domestic airplane design competition is held in each institution. Among them, there are three competitions for university students such as the national hand-made model airplane competition organized by the Gyeongsang national university, the international flyingcar competition held in Gyeongsangnam-do, and the national indoor plane competition held in Chungnam national university. This paper introduces such airplane design competitions in Korea. Especially, design analysis of the indoor plane competition held for 9 consecutive times is highlighted. Based on result of the analysis, optimal values of the design parameters such as aircraft type, wing span, and aspect ratio for indoor flight are derived.

유연우주비행체의 대각선회 및 진동제어에 관한 해석적 연구

석진영,김유단 한국항공우주학회 1993 한국항공우주학회 학술발표회 논문집 Vol.- No.-

조선후기 궁중의례에 사용된 보계(補階)의 유형과 세부 구조에 관한 연구

석진영,한동수,Seok, Jin-Young,Han, Dong-Soo 한국건축역사학회 2018 건축역사연구 Vol.27 No.2

The stylobate for expanding the external stage area was the most frequently installed installment out of the installments installed for royal court ceremonies. The stylobate was installed for various ceremonies such as funeral rites, ancestral rites, customary formalities, state examination, feasts for celebrating a honored guest of the court, queen's silkworm cultivating ceremony, heir appointment, the presentation of honorary titles for the king or queen in honor of their merits, and entertainment of foreign dignitaries. The exact period stylobates came to be used for the play stage. The stylobate consists of the 紅座板, 屯太木, 竹欄間, 足木, and the 層橋. Depending on the 足木, the substructure of the stylobate, the stylobate could be divided into the 長足木, 中足木, 短足木, 平足木 type. The detail structure of the stylobate changed in form from the jokmok and duntaemok that appeared until the time of King Seonjo, into the 長屯太木, 短屯太木, and the 短短屯太木 during the time of King Heonjong. With the introduction of the 中足木, materials began to become more segmented and the structure stronger. According to existing records, while the height of the stylobate was not significantly high prior to King Seonjo's reign, the 十四層雲橋 and the 十三層層橋 introduced during the time of Emperor Gojong was designed to reflect his rank in external ceremonies while the eight story step bridge was exhibited in internal ceremonies to reflect the rank of Queen Mother Sinjeong. From here, we can deduce that the fourteen and thirteen story cloud bridges representing the king was of a higher grade than the eight story step bridge which represented the queen mother. Finishing by adding boards to the lower part of the stylobates began to appear in the time of King Seonjo. During King Heonjong's reign, the lower finish became gentrified with a thin board called 修粧板, and yeomupan 廉隅板 for decorating the edges of the stylobates were installed. Such style of finishing the lower part of the stylobate with boards mostly appeared in elaborate feasts 進饌 and celebrations 進宴 within the royal court 內宴. The stylobates appeared to have served not only practical purposes such as expanding the stage area, but also as installments which realize the authority and prestige of the royal crown. They were installed according to the purpose of the ceremony and the rank of the participant. In short, stylobates became established during King Seonjo's reign, became segmented and gentrified during King Heonjong's reign, and began to take height variations during Emperor Gojong's reign to reflect the rank and authority of the king and queen mother. As such, it can be considered another characteristic of Joseon Dynasty architecture.

궁중 연향 왕실 방석(方席)에 관한 연구

석진영 대한건축학회 2022 대한건축학회논문집 Vol.38 No.7

During the Joseon Dynasty, a banquet with sitting cushions was mainly held in the yard of the royal quarters in front of the royal palace. If a leopard sitting cushion was used in the architectural space of a banquet, it indicated the highest rank in the royal seat during the Joseon Dynasty, which continued until the Gojong period. The long leaning cushion did not appear in the banquet seats during the Jeongjo period, but was used during the Sunjo period. The dragon-patterned sitting mat was used only for the king’s seat after the Sunjo period. This was to establish the king’s political authority, subdividing the hierarchy based on the mat’s pattern. Banquets held during the Sunjo period used the dragon-patterned sitting mat for the king, the floral sitting mat for Queen Sunwon, Crown Prince Hyomyeong, and the crown princess. For the sitting cushion, Manhwa and leopard sitting cushions were placed. Eventually, the crown prince and princess’s sitting cushions were replaced with leopard sitting cushions. The king’s throne had five levels of mats and Pyeoncha had five levels. The royal throne including the crown prince consisted of five stages, and the Socha bowing seat, and Pyeoncha had three levels. The seat for alcohol offerings had two stages; the arrangement of the sitting cushions indicated the rank of the seat for alcohol offering, the lowest was the crown prince’s seat. The number of stages and mats were the highest during the Jeongjo period. A pattern of this complex stage appeared in the Sunjo period and settled down after the Heonjong period. In the King’s hierarchy, there was the most, odd number of sitting cushions, and the status was classified by the number of mats used. During a banquet, the sitting cushion was placed according to the seat status. An arrangement by type, pattern, and color was used to distinguish the hierarchy of participants. The sitting cushion established the king’s political hierarchy and more specifically stratified the level of its royal participants. Sitting cushions were used on the royal family seats and for participants in the architectural space of a banquet. It was lastly planned in the banquet architectural space division, defining the differences in position according to the status and subdividing the royal hierarchy for some increased. 궁궐 연향에서 방석은 다양한 위차에 배설되었으며 유형과 문양, 색상 등이 구분되어 배설된 것은 참여자와 왕실을 구분하기 위한 것이다. 방석은 전하의 정치적 위계를 확립하고 왕실 참여자의 등급을 더욱 구체적으로 구분하기 위한 기능을 수행하였다. 방석은 연향의 건축공간에서 왕실과 참여자의 위차를 세분화하여 구분하였으며, 연향 왕실 공간 구획에서 마지막 위차를 규정하고 왕실 위계를 세분화하였다. 조선후기 왕권과 왕실의 정치적 질서·의례적 명분, 유교적 위계질서를 지키며 신분 체제를 견고히 하고자 상징적으로 방석을 이용하였다.

조선시대 진찬(進饌) 왕, 왕세자, 왕세손의 동선(動線) 및 공간 사용의 변화에 관한 연구

석진영 대한건축학회 2023 대한건축학회논문집 Vol.39 No.3

Summarizing the characteristics of the movement lines, the center is the location of the king, the center is the location of the king, the eastside is the king, the crown prince, the crown prince, and the royal family, and the west side is the seat of the subjects. The detailedhierarchical division between each position was divided between the king and the successor, between the royal family, and between the kingand subject. If the characteristics of the movement line are summarized as gates, Jeongmun is the movement line of the king and hissuccessors. The east-west side gates located on the left and right sides of the hall were used by the royal family and ministers, and thehierarchy between the royal family and subjects was also divided into gates. Analyzing the characteristics of jinchan by external and internalcircumstance, the king waits in the outer court, passes through the center of the front gate, and finally ascends to the ceremonial hall of theceremonial hall. The crown prince mainly used the east gate of the main gate and performed the ceremonies in the eastern position, and thecrown prince's son was located below and behind the crown prince in the eastern area. In the inner palace, the king's movement becomesconcise, and in the daily meeting led by the crown prince, a central movement line appears in which the crown prince passes through themiddle gate of the front gate. In the inner court, the movement of the king becomes concise, and in the following day's meeting led by thecrown prince, the pattern of the movement of the center appears as the crown prince passes through the central gate. The crown prince'smovement shows a complex movement and a mixed pattern of the center and the east to perform various ceremonies appropriate to theprocedure at the banquet. The location of the crown prince was divided into the east, which was separated from the king's straight line ofmovement, and royal women such as the crown princess mainly used the west area. From the external and internal courts during the reignof King Sunjo, the position and movement of the king and crown prince can give a glimpse of the kingship that was passed on to thesuccessor who had actual authority, and it can be confirmed that the will of King Sunjo's gyejisul is being passed on to Crown PrinceHyomyeong. In other words, in the inner circle, the middle, straight line is the king's hierarchy, the east is the hierarchy of the successorwho inherits the kingship, and the complex aspect of the center and the east is the hierarchy of the successor who carries out the kingshipby proxy. 進饌을 중심으로 왕과 왕실 정통성을 이을 후계자의 位次와 動線을 정리해보면 조선전기 규범화된 의례는 조선후기까지 이어졌으며 진찬의 목적과 상황에 따라 변화되었다. 位次에서 中央, 즉 중심은 왕, 東은 왕, 왕세자, 왕세손, 종친 등의 왕실을 의미하였고 西는 신하를 의미했다. 신분 간의 세밀한 위계 구분은 上과 下와 前과 後로 왕·왕실간·군신간의 위계를 向으로 구별하였다. 殿閣의 正門은 왕, 왕세자, 왕세손이 이동하는 국본의 동선이었고, 세부적으로 왕은 中央門 왕세자, 왕세손의 후계자는 東門으로 구분하였다. 동서 편문은 종친과 대신의 동선으로 왕실과 군신간의 위계를 門으로 구분하였다. 動線에서 외연에서 왕은 정문을 중앙문을 통하여 마지막에 正殿의 御座에 오르는 일직선 동선이다. 왕세자는 주로 동문을 이용하며 동쪽의 영역에서 하례의 예를 행했으며, 순조시기 일부 위차와 동선이 中央으로 이동되는 양상이 나타난다. 왕세자의 동선은 연회에서 절차에 맞는 다양한 의례를 행하기 위해 복합적 동선과 중앙과 동쪽의 혼합 양상이 나타났다. 內宴에서 왕의 동선은 간결해지고 왕세자 주도의 翌日會酌에서 왕세자가 正門의 中央門을 통과하는 中心 동선의 양상이 적극적으로 나타난다.

순조 궁중연희 내연 무대의 朱簾, 甲帳에 관한 연구 -修理·排設 부분을 중심으로-

석진영,한동수 한국건축역사학회 2017 건축역사연구 Vol.26 No.6

Royal banquets under the reign of King Sunjo saw developments in the playacting stage, which exhibited characteristics unique to the transitionary period between Jeongjo and Gojong this period established the framework of the Joseon Dynasty’s playacting stage construction. Starting with the Jagyeongjeon-Hall banquet and continuing into the Year of the Golden Rat banquet, the next-day banquet by the Crown Prince demonstrates a renewed format, with the stage also changing accordingly. This change was substantiated by more assertive use of the Red Blind and gabjang. Previously, the Red Blind has been installed in the palace hall and around the royal courtyard, to form three sides, but as next-day banquets became more frequent under Sunjo, the Red Blind developed and came to be installed in accordance with the hierarchy within the royal family. In the Year of the Golden Rat banquet, the Red Blind was lifted and the throne of the crown prince was situated in the palace hall. In the banquet of the following year, however, the Red Blind was let down and the crown prince’s throne was placed outside, in palace court yard. This seems to have been a gesture to reorient the crown prince’s political standing and restore Sunjo’s sovereignty the following year. Hence, the installation of the Red Blind developed in accordance with the royal hierarchy and ranks under Sunjo’s reign. The gabjang provided the second layer of protection for the playacting stage. The hongjeongju gabjang surrounded the stage in multiple layers and served as a partition. The gabjang from the Year of the Golden Bull banquet, in particular, boasted a unique installation, where it dangled from both sides of the royal palace’s facade. Hongjeongju gabjang, lapis lazuli gabjang, red gabjang, and yellow curtains were installed in the stated order to reflect Sunjo’s 40th birthday as well as the 30-year anniversary of his coronation. The Red Blind and gabjang from Sunjo’s years were positioned in creative ways to reinstate the royal authority, and demonstrated many improvements from those of Jeongjo’s reign. 조선시대 왕실은 연희를 설행하였다. 궁중연희는 조선 후기에 들어서면서 대비들을 위로하고 장수를 기원하는 목적으로 많이 설행되었다. 내연 무대는 補階 위에 朱簾과 甲帳의 가설시설을 배설하였다. 이는 차면 기능을 수반하며 왕실과 왕가의 권위를 나타냈다. 순조 시기 궁중연희는 조선후기 내연 무대가 발전하는 시기로, 정조 시기와 고종 시기의 과도기적 양상을 보이며, 내연 무대의 기틀을 확립하는 시기이다. 이는 효명세자의 대리청정기에 연속으로 설행된 연희를 통해 확인된다. 慈慶殿進爵을 기점으로 戊子進爵에서는 王世子翌日會酌의 새로운 양상이 출현하였고, 이에 따른 무대의 형식도 갖추게 된다. 가설시설 가운데 가벽 기능의 주렴과 갑장이 연희 무대에 적극적으로 배설되며 변화, 발전하는 단계이다. 朱簾은 일차적인 차면 기능을 하며 왕실의 여성을 상징한다. 이전 시기의 연희에는 주렴을 殿閣에 걸고, 殿庭에는 주렴을 삼면으로 둘러 배설하는 형식이었다. 순조 시기 주렴은 익일회작의 연희 설행일 증가로 왕실의 위계에 따라 발전하였다. 무자진작 익일회작에서 주렴은 捲簾되어 왕세자의 좌를 전내에 배설하지만, 己丑進饌의 익일회작은 전내의 주렴을 降簾하고 왕세자의 좌를 전정에 배설한다. 이는 무자진작으로 왕세자의 정치적 위치를 정립하고, 기축진찬으로 순조의 왕권 회복을 위한 기획으로 판단된다. 즉, 순조 시기 주렴은 궁중연희 내연 무대에서 위계와 위차를 구분하며 발전하였다. 甲帳은 이차적인 차면 기능을 갖는 가설구조이다. 특히, 연희 무대에 겹으로 둘러 가벽으로 설치되었던 紅鼎紬甲帳은 기축진찬에서는 전각의 전면에 兩開드리개 형식으로 배설되며, 설치 위치에서 독특한 형식으로 나타난다. 순조 시기 홍정주갑장은 순조의 사순과 어극 30주년인 왕의 위엄을 상징하며, 위계에 따라 홍정주갑장, 아청목갑장, 홍주갑장, 황목휘장, 백목장 순으로 위치에 따라 배설되었다. 순조 시기 궁중연희 내연 무대에서 주렴과 갑장은 왕실의 권한을 강화하고 기득권 세력에 대응하기 위해 창의적으로 배설되고, 진작의궤의 수리와 배설에 구체적으로 기록되며 정조 시기보다 발전된 양상을 보인다. 또한, 이후 설행되는 궁중연희에서 내연 무대의 규모 확대, 공간 확장에 따라 배설된 주렴과 갑장의 수리·배설에 영향을 주었다.

궁궐 연향 공간의 지의(地衣) 연구

석진영,Seok, Jin-Young 한국건축역사학회 2020 건축역사연구 Vol.29 No.6

During the Joseon Dynasty, the rituals that were celebrated in the palaces were mainly held inside the palace and in the courtyard of the palace. Mats were spread on the floor of the place where the ritual was held. The mats spread in the Joseon Dynasty rituals divided the space in various ways, and in particular, they were spread in a certain form in the spaces of royal wedding, customs, and court banquet. Mats were the primary physical element that divided the royal ritual space of the Joseon Dynasty, and functioned to elevate the general space to the ritual space. In the ritual space, mats were spread inside the palace, and divided the courtyard of the palace into left and right in a symmetrical form to distinguish the hierarchy of the participants. Mats with special and white patterns were spread in the external ceremonial space and mats with flower and colorful patterns were spread in the internal ceremonial space. This was the subdivision of the Confucianism's male-female division through the mat. The pattern of the mat that divided the space of the royal family elders also meant longevity to reflect the filial thoughts of the Confucianism through the mat. Mats were a physical element for subdividing the royal family and the participants in the hierarchy of the space where the ritual is held, and it also performed a subdividing function between the royal participants. In other words, in the Joseon Dynasty ritual space, mats were temporarily spread while the ritual is being celebrated and functioned to elevate the space to a ritual space. It is confirmed that the fact that the mats were temporarily spread to divide the space into the hierarchies according to the status and were subdivided into colors and patterns to perform the function to reflect the subdivision of the royal family according to Confucianism and the statue of filial piety in the ritual.