『상방정례』로 보는 조선왕실의 복식구조

김소현(Soh Hyeon Kim) 한국복식학회 2008 服飾 Vol.58 No.3

조선시대 궁녀의 직무와 복식에 관한 연구

김소현(Soh Hyeon Kim) 한국복식학회 2011 服飾 Vol.61 No.10

Court ladies` tasks were largely divided into two. First, if there is a royal family event, such as the royal family`s wedding or feast, they followed the rules and regulations of work division that was defined in 『Gyeonggukdaejeon』. Secondly, during normal days, they were divided into Jimil (至密), Chimbang (針房), Subang (繡房), Sesugan (洗手間), Saenggwabang (生果房), Naesojubang (內燒廚房), and Oesojubang (外燒廚房) and took charge of female work that was needed daily at the palace including serving, cooking, laundry, needlework, embroidery, cleaning, and nurturing. This organization was operated by different palaces such as the daejeon(king`s palace), daebijeon(queen dowager`s palace), junggungjeon(queen`s palace), or sejagung(prince`s palace). Court ladies were selected among female slaves of the government office or naesusa(a ministry of royal household properties). Although commoners were forbidden to be selected, they sometimes became court ladies voluntarily for financial reasons or because of the will of their parents. Court ladies had different appearances according to the division they belonged to. The court girls of Jimil, Chimbang, and Subang wore saeangmeori while court girls from other places had braided hairstyles. At Jimil, they wore all different kinds of chima(skirt) and jeogori(jacket). Usually, court ladies wore navy chima, jade jeogori, green gyeonmagi(top jacket) with the uyeomeori hairstyle. When working in the evening, they wore pink jeogori or yellow-green jeogori, navy chima with the jojimmeori hairstyle for easiness to stay up all night and work. Navy chima was worn by court ladies. If there was a royal family event upper court ladies wore uyeomi, black or green wonsam, and stewards wore garima and dangui.

16세기 탱화에 나타난 조선전기 복식연구

김소현(Soh Hyeon Kim) 한국복식학회 2014 服飾 Vol.64 No.1

In the Taenghwa(Buddhist paintings), the clothing habits of the times can be observed since it depicts the lives of people from all walks of life. These 16th century Taenghwas were drawn based on the understanding of the ritual costumes of early Joseon dynasty appearing in works such as oryeui Se-jong-sil-lok; Sejong chronicles and Gyong-guk-Dae-jon. It shows the perception of various types of clothing such as the Myeon-Bok(King`s Full Dress), Won-yu-gwan-bok(King`s Ceremonial Dress), and Gon-ryong-po(royal robe at work), and describes the early King`s Wonyu- gwan-bok in the early Joseon dynasty that equips Bang-sim-gok-ryong(Round Neck Band). Various officials` uniforms and various men`s coats are described. From it, one can visually verify the records of Joong-jong-sil-lok; Joongjong chronicles that describes the appearances of various hats and coats. They also tell us that Chang-ot(light outer coat) was worn prior to the 17th century. It also shows us that the ritual costume of women in Koryo was passed down to early Joseon. Also, in regards to the Buddhist priest costumes, the jang-sam`s gray color and ga-sa`s red color has been passed down until today. The most representative characteristic for clothing materials were horsehair, silk, ramie, hemp, and cotton.

조선후기 왕실여성의 관례복식 연구

김소현(Soh Hyeon Kim) 한국복식학회 2010 服飾 Vol.60 No.5

가례시 절차에 따르는 조선후기의 왕실여성 복식연구

김소현(Soh Hyeon Kim) 한국복식학회 2009 服飾 Vol.59 No.3

「준천계첩」에 나타난 영조대 행사복식 연구

김소현(Soh Hyeon Kim) 한국복식학회 2019 服飾 Vol.69 No.8

조선시대 상의원의 왕실복식 공급체계 연구

김소현(Soh Hyeon Kim) 한국복식학회 2007 服飾 Vol.57 No.2

조선시대 적의의 용례와 제작에 대한 고찰

김소현(Soh Hyeon Kim),안인실(In Sil An),장정윤(Jeong Yun Jang) 한국복식학회 2007 服飾 Vol.57 No.6

조선시대의 관례복식 재현 연구

김소현(Kim Soh-Hyeon) 한복문화학회 2016 韓服文化 Vol.19 No.3

This study re-creates the costumes used for coming of age rituals in the Joseon Dynasty, based on the premise that such a re-creation would contribute to the restoration of the virtues that may be gained through the rituals. Action materials necessary for visual re-creation were taken, and of these, ritual procedures, balgi (list of items) from late Joseon to the end of Joseon, and collections of literary works were reviewed. The findings of the review show that the costumes worn for coming of age rituals varied depending on one’s social status, and depending on the methods used to interpret the rituals. The ritual called “choga” meant isolation from children, “jaega” symbolized the process of becoming an adult, and “samga” represented having become an adult or was interpreted as a change in one’s status as an adult. Accordingly, casual garments for adults were worn at the choga, townwear for adults at the jaega, and adult formal wear at the samga. Sometimes, garments were worn depending on one’s status at the choga, jaega, or samga. Or, garments that were appropriate for a traditional ceremony were worn at the choga, casual garments at the jaega, and formal wear at the samga.

『상방정례』에 나타난 왕실의 일상 복식 용어 고찰

김소현(Kim, Soh-hyeon) 한국학중앙연구원 2019 장서각 Vol.0 No.42

이 글은 장서각 소장 『상방정례』에 나타난 왕실의 일상 복식 용어를 고찰한 것이다. ‘발기’를 참고자료로 삼아 복식명칭의 소리글을 추정하고자 하였다. 왕실에서는 왕실의 적통을 잇는 신분인 왕, 왕세자, 대왕대비, 중궁, 세자빈과 그렇지 않은 대군, 공주 등의 신분으로 구분하여 명칭을 달리 사용하였다. 頭冕은 갓을 나타내는 명칭으로 재료에 따라 馬尾頭冕과 斜頭冕으로 구별하였다. 衫兒는 속옷 상의로서 길이가 짧은 것과 긴 것, 즉 장삼아와 단삼아가 있다. 裏衣는 남자의 경우, 하의로서의 니의[褌子]와 더그레의 받침옷으로서의 내의[帖裏]를 뜻하는 용어로 기록하였다. 여자의 니의는 속옷 하의로서 ‘발기’에는 왕실적통을 잇는 신분용은 음독하여 니의라 부르고, 그 이하의 신분용은 훈독하여 속곳[속것]이라고 불렀다. 남자의 裹肚는 흰색 겹저고리로서 음독하면 고두, 고도이다. 여자의 串衣는 다중적인 의미가 있어서 왕실적통을 잇는 신분의 저고리를 나타내는 명칭인 동시에 덧저고리를 가리키는 명칭으로 사용하였다. 호수는 고려양으로 유행했던 방령반비가 이어져 온 옷으로 파악하였다. 왕세자나 왕세손이 착용한 청금복은 청색단령으로 파악된다. 氈衫은 대군과 의빈의 복식인 한편 겨울철 방장의 한 가지로서 동일한 이름이지만 기능이 다른 별개의 물목이다. 『상방정례』는 절용을 강조하고 왕실 의생활의 차별화를 위해서 의복의 종류를 간소화하고 복식전통의 계승자임을 자처한다는 의미를 담은 것으로 평가된다. 그러나 절용을 중시했던 영조의 의도가 이후로도 동일하게 적용되었다고 볼 수 없기 때문에 『상방정례』의 규례를 조선 후기의 왕실복식 전체에 적용하여 일반화하는 것에 대해서는 주의를 기울일 필요가 있다. It is a study on the terms of the royal costumes of Jangseogak’s book, Sangbangjungrye. Using “Balgi” as a reference, it is intended to find out the pronunciations of the royal costumes’ names. The names of the royal costumes were used differently between the king, the crown prince, the queen, the crown princess, the king’s mother and the princes, princesses. Du-Myeon is a name that refers to a Got and it is distinguished its materials as Ma-Mi-Du-myeon and Sa-Du-Myeon. Sam-Ah is an underwear top with short and long ones, namely Jang-Sam-Ah and Dan-Sam-Ah. In the case of man’s Nei-Ui, it had two items. The one was the half pants [Gon-Za] as a bottom, and the other was the underwear [ Cheum-Nui] as a Dou-Gu-Rye. A woman’s Nei-Ui was an underwear. It was called differently depending on the wearer. The one for the queen’s was called Nei-Ui, and the other for the princess’ was called Sok-Got. A man’s white double Jeo-Go-Ri, Gwa-Du was called Go-Du or Go-Do. A woman’s Go-ui had two meanings. One refers to a Jeo-Go-Ri for the royal family, and the other was the Jeo-Go-Ri that put on over a Jeo-Go-Ri. The Ho-Su was identified as the clothes that had been succeed Bang-Ryung-Ban-Bi as Goryeo style. The Chung-Gem-bok which was worn by the Crown Prince and the Crown Prince’s son was identified as blue Dan-Ryung. Jeon-Sam was a name that refers to a costume for a prince and a princess’ husband, and a winter curtain. Sangbangjungrye is considered that it emphasize economy of royal costumes, and also that it has the meaning to be the heir to the tradition of costumes. However, since King Yeongjo’s intention, which emphasized economy, cannot be regarded as the same way after his governance, it is necessary to pay attention to generalize the rule of Sangbangjungrye by applying it to the entire royal dress of the late Joseon Dynasty.