송대 分茶와 吉州黨 茶盞의 문양장식에 관한 一考

고연미(Yeon-Mi Ko) 한국차학회 2010 한국차학회지 Vol.16 No.1

The purpose of this article was to examine the links between culture of Tea separation and Jizhou tea bowls in Song dynasty. We first studied the literature about Tea Separation during the Song dynasty We secondly researched tea bowls with black glaze made in Jizhou kiln s. The results of this study show th at Jizhou ware had patterns with natural objects using paper-cut decoration and that its patterns and deco ration were in timately linked with Tea Separation

북송대 徽宗의 예술성에 대한 茶文化史的 試論

고연미(Yeon-Mi Ko) 한국차학회 2013 한국차학회지 Vol.19 No.1

The purpose of this study is to examine the tea culture aspects on Emperor Huizong's artistry in the Northern Song Dynasty. This study employed two methods to examine major genres of literatures about Song's tea culture and Huizong' works of painting and calligraphy. The results of this study found out that Huizong recorded, for the first time, pure white tea color, tea whisk, and whisked tea way by seven times of infusion in his book called Daguandaron. Second, Huizong took pleasure in Song's representative tea culture such as tea fighting and tea separation at the royal library called Taechongroo and Yeonbokgoong Palace. Finally, we found out utensils for tea gathering and how to whisk tea in his works Literary Gathering and Eighteen Scholars as well as tea bowl's inscription 'Gong-ur and Jin-jan' made in Jianyao imitated Huizong's Slender Gold calligraphy.

송대 회화를 통해 본 차문화 공간의 형태와 기능

고연미(Yeon-Mi Ko) 한국차학회 2013 한국차학회지 Vol.19 No.3

The main purpose of this study was to examine the form and function of tea culture space on the Song dynasty paintings. This paper employed two methods to examine the literature on the royal palace, private garden, tea house and paintings of tea culture in the Song dynasty. The conclusion to be drawn here was that the emperor's, literary men's, Buddhist monks, and stall keepers' space form of tea culture were observed in the royal palace, private garden, temple in mountain, and street respectively. In addition, the space function of tea culture suggests that literary men held mostly literary gatherings including literary activity and tea parties, Buddhist monks had tea ceremonies in the Seon temple near the mountain, and stall keepers took pleasure in Song's representative tea culture called tea fight and sold tea prepared in advance on the street.

일본 제다(製茶)기술의 무형문화재 전승 현황

고연미(Yeon-Mi Ko) 한국차학회 2016 한국차학회지 Vol.22 No.2

The purpose of this paper is to examine development and status of current intangible cultural heritage of Japanese tea manufacturing skills specifically, the methods developed in Uji, Kyoto and Shizuoka. This study conducted literary reviews and gathered information from Japanese prefectures about tea manufacturing methods. The study found that Nagatani Sōen of Uji created the main tea manufacturing method in early modern Japan. It is called the Uji Method known as Aoseisenchahou. This groundbreaking method of tea preparation involved hand-rolling and drying boiled tea buds over a dedicated tea-drying furnace. The study found the following historical developments. First, the tea hand-rolling method called Temomi derived from Nagatni Sōen had good effect on tea manufacturers in Kyoto and Temomi schools of Shizuoka and it was designated as the main tea making method and intangible cultural heritage. Second, the holders of intangible cultural heritage have changed from individuals in 1960s to groups in 1980s. Third, the designated groups popularize and improve their tea manufacturing skills through competition or conducting training programs of hand-rolling and drying boiled tea buds. Lastly, the tea manufacturing instruments and equipments are being recognized as tangible folk cultural heritage in Shizuoka.

일본 中世菓子의 양상과 변천

고연미(Yeon-Mi Ko) 한국차학회 2012 한국차학회지 Vol.18 No.2

The purpose of this paper was to analyze confectionery during the Middle Ages before formation of Japanese Wabi Cha. This article employed two methods for examination of the literature of medieval Wanglaemul and Kwang-un and medieval pictures of confectionery. According to the results of this study, medieval confectionery consisted of fruits and nuts; Chaja was simply boiled or dried food and different kinds of fruits. Of particular interest, fruits were used in both confectionery and Chaja. In addition, Jumsim meaning refreshment between regular meals was divided into soup, dumplings, and noodles. Dumplings and noodles were made primarily with flour and liquid soup was changed into a solid confectionery during the late Middle Ages. Finally, medieval rice-cake was confirmed to sell it with tea in tea house as well as use as products for taxes.

동아시아 제다의 무형문화재 사례 분석을 통한 한국 ‘제다’의 전승방안 모색

고연미(Yeon Mi Ko) 한국차학회 2016 한국차학회지 Vol.22 No.4

The purpose of this article is to find the ways in which the process of tea manufacturing is transmitted in Korea. It is based on case studies of the intangible cultural heritage related to Eastern Asia s tea manufacture. Korea designated tea manufacture as a national intangible cultural heritage without any cultural heritage holders in 2016. In Japan, the holders of the intangible cultural heritage related to tea manufacture in the Kyoto and Shizuoka prefectures have changed from individuals in the 1960s to groups since the 1980s, whereas China designated 12 individual holders of the intangible cultural heritage of Wuyi rock tea, jasmine tea, green tea, oolong tea, brick tea, and white tea in 2009 and 2012. In the first part of this study, which looked at the academic and historical ways in which this culture was transmitted in Korea, the written and oral records pertaining to the history of Korean tea manufacture were investigated and raising recognition of improvement rather than original form of tea manufacture was suggested. The second part of this study, which looked at the artistic and local ways in which this culture was transmitted in Korea, discussed the designation of tangible cultural assets to preserve utensils for tea manufacture, the holding of competitions between each local tea making, the protection of local species of tea trees, and the connections between the landscape performance and dark tourism through the tea making contents and national tea cultural festivals.

조선시대 󰡔주자가례󰡕 유입에 의한 차선(茶筅) 논의 양상

고연미(Yeon-Mi Ko) 한국차학회 2018 한국차학회지 Vol.24 No.1

This study examined the reason why the tea whisk appeared in the Joseon Dynasty, despite the decline of whisking powdered tea method, by analyzing the information on the tea whisk presented in references produced during the Joseon Dynasty. The results obtained from this research are as follows. First, the reason for the use of the tea whisk presented in Joseon references consisted in the propagation of Zhu Xi s Family Rituals, as Joseon recognized Confucianism as a national religion. In particular, Kim Jang-seng, a Yehak scholar who lived in the middle of the Joseon Dynasty, first left his drawing that portray the tea whisk in his book, Garyejipramdoseol. Second, The question and answer book of Zhu Xi s Family Rituals was originally derived from the matter of the tea whisk by quoting the Family Rituals with Specifications of the Procedures written by Qui Jun in Ming Dynasty. Third, the details concerning the notion of the tea whisk are based on the Family Rituals with Specifications of the Procedures written by Qui Jun. The tea utensils that were associated with the emergence of the tea whisk included teacups, tea saucers, and a kettle containing boiled water. Fourth, this study covers the errors associated with the tea whisk. These errors were derived from the lack of awareness of the tea whisking method in the Southern Song Dynasty. These practices were wrongly described in the book written by Qui Jun. Therefore, scholars in the Joseon Dynasty quoted these errors.

고려 원림을 통해 본 이자현과 이규보의 차문화 공간

고연미 ( Ko Yeon-mi ) 원광대학교 한국예다학연구소 2018 한국예다학 Vol.6 No.-

본 연구는 고려시대 이자현이 조성한 현존하는 문수원(文殊院)과 이규보가 집필한 『동국이상국집(東國李相國文集)』의 원림기(園林記)를 주제로 차문화 공간의 특성을 살펴본 시론이다. 고려 원림을 묘사한 차그림(茶畵)에는 금기서화(琴棋書畵)가 주요 문예활동이었으나 문헌상 기록은 좀 더 다양한 내용을 담고 있었다. 문수원을 차문화 공간으로 상정할 수 있는 근거는 그가 문수원에 주석하였을 때 예종과 인종이 차를 하사한 기록이 『고려사(高麗史)』, 『고려사절요(高麗史節要)』, 『동문선(東文選)』에 남아있고, 이자현이 입산 후 37년간 문수원을 떠나지 않고 북원 선동(仙洞)에서 수행을 한 데 있다. 주요 수행처인 선동일대에는 이자현이 해서체로 ‘청평선동(淸平仙洞)’, ‘청평식암(淸平息庵)’이라 새긴 각자(刻字)가 현존하며, 그가 조영한 산(山)이 투영되어 보이는 ‘영지(影池)’도 고려 원림의 대표적 상징물로 현존하고 있다. 수행 및 음다 공간으로서 문수원은 불도융합도장이자 사관원림(寺觀園林)이기 때문에 그 조형적 특징은 가치가 큰 것으로 나타났다. 『동국이상국집』에서 차문화 공간으로 볼 수 있는 원림기는 「태재기(泰齋記)」와 「손비서 냉천정기(孫祕書冷泉亭記)」였고, 모두 샘물을 주제로 전자는 전차(煎茶)를, 후자는 점천(點荈)을 논하였다. 이규보 자신의 원림기 중 「사가재기(四可齋記)」「사륜정기(四輪亭記)」는 도가적 은일과 창의적 사고가 돋보였으나 차와 관련된 기록은 앵계초당(鶯溪草堂)을 주제로 한 고율시(古律詩)에 나타났다. 이를 통해 이규보가 전원생활과 육우의 차 정신을 동경하며 소박한 차문화 공간을 지향했음을 확인할 수 있었다. This study examines the characteristics of tea culture space titled with “Munsuwon” gardened by Lee Ja-hyun and Essay on Private Gardens of Dongguk-isangguk-jib written by Lee Gyu-bo. Although literary activities called Geumgiseohwa in tea pictures depicting private gardens in Goryeo was a major theme, written records show more various activities. The History of Goryeo, Essentials of Goryeo History and Dongmunseon provide historical evidence that Munsuwon is a location of tea culture give the fact that Lee Ja-hyun received teas during the reign of King Yejong and Injong and Lee Ja-hyun conducted practiced religious act in Seondong adjoining to Bukwon by staying in Munsuwon for 37 years after entering into the mountain. In reality, carved letters including Cheongpyeongseondong and Cheongpeyongseokam with his squared writing style remain intact in Seongdong where he primarily conducted religious behaviors. A pond called Yeongji that mirrors the mountain still remains as the representative symbol of private gardens in Goryeo. Munsuwon as a location of religious performance and drinking tea is its value greater because of an integrated practice arena of Buddhistic and Taoistic austerities and a historic garden embodied Buddhistic and Taoistic idea. The Essay on Private Gardens as a location of tea culture in Dongguk-isangguk-jib written by Lee Gyu-bo includes Taejegi and Sonbiseo Naengcheonjeonggi, all of which cover spring water. The former discusses boiling tea, while the latter covers whisking tea. Sagajaegi and Saryunjeonggi of his essays on private gardens are characterized by Taoistic seclusion and creative thought, a Goyul poem based on Aenggyechodang includes records associated with tea. It was found that Lee Gyu-bo aimed for a rustic location of tea culture, eagering for rural life and Lu Yu’s tea spirit.

중국 차서를 통해 본 다건(茶巾)의 제 특성

고연미(Yeon-Mi Ko) 한국차학회 2018 한국차학회지 Vol.24 No.2

This study analyzed all characteristics of sanitary tea towel that has never been cited among tea utensils on name, ingredient, color, pattern, form, usage, location, and preservation. Results are presented as follows. First, it analyzed name and ingredients. Since towel appeared in the Tang dynasty, towel have been used as the most general word in Chinese tea books. Since Suo referring to receiving filthiness appeared, it has been frequently cited in the Qing dynasty. Silk appeared in the Tang and Song Dynasties and Linen appeared in the Ming and Qing Dynasties as ingredients, both of which were found unprocessed (raw silk and raw linen). Second, it analyzed colors and patterns. Color was identified as white as shown in Dagudochan and paintings made in the Song dynasty. As yellow Linen cloth was found in Daso, yellow was found as raw(unprocessed linen). Square form was the only one as shown in Dagudochan. Third, it analyzed forms and usage. Rectangular form was presented in illustrations and paintings of Chinese tea books. Two-space shown in Dagyeong written by Lu Yu was the only one regarding size. Usage aimed for keeping tea utensils clean, among which teacup was frequently noted. In regard to usage, it was used unfolded not as folded cup. Fourth, it analyzed location and preservation. As tea picture illustrated in the Song and Yuan dynasties, it was generally stored on connecting bar below the table or kept above jars on the box. It was placed on the wall shelf above the box in the tea room as shown in Daso written in the Ming dynasty. Another book Dahae also recorded that it was hung in the tea room. Giguk was identified as the only tea utensils box including Suo as written in Dabo written by Qian Chunnian in the Ming dynasty.

에이사이(榮西)의 남송 산차(散茶) 도입이 덴차(碾茶)제법 형성에 미친 영향

고연미(Yeon-Mi Ko) 한국차학회 2017 한국차학회지 Vol.23 No.2

The study explores how sancha of Southern Song dynasty by Eisai was introduced and settled down. Bibliography and paintings were utilized as study methods and Kissa-yōjō-ki, which is the only book on tea of Eisai, references on dencha, and tea manufacturing pictures were all examined. Results are as follows. First, the tea manufacturing method in the Southern Song dynasty introduced in Kissa-yōjō-ki pertains to steamed and dried green tea. Secondly, Bangchonbi, which is a pharmaceutical spoon, among tea drinking methods presented in the book pertains to spoon with coins and this serves as a measuring spoon. Thirdly, sancha of Southern Song dynasty was proliferated from Kyushu, Kyoto, and ultimately to Uji in Japan. Lastly, sancha manufacturing of Southern Song dynasty was transferred to dencha manufacturing that cultivates tea leaves in Japanese covered tea garden called Bokhadawon and permeated into the nation.