세종대 대명관계와 관복제도(Ⅱ)

류재운(Ryoo Jae-Woon) 한복문화학회 2008 韓服文化 Vol.11 No.1

King Sejong positively accepted all systems of Ming that was a political, military, economical and cultural power as well as the origin of Confucianism. He was thoroughly active In making distributed Confucianism-based systems. And he devoted himself to the study of classical Ideologies with a view toward making Joseon a fully Confucian nation by implementing an Independent policy In all fields. During the regime of king Sejong in Joseon, Ming was Internally unstable as Its throne was seized by 5 emperors, including Yong-le, in turn, so It was very passive about foreign policies. This made exchanges between the two nations not political, but economic and cultural, affecting the official uniform system establisment of Joseon. In the regime of king sejong, Joseon asked Ming to grant official uniforms or otherwise created them after fully considering Its social Situations, not Just following the official uniform system of the Chinese nation. Independent and Positive attitudes Joseon showed about granding official uniforms from Ming and official uniform system establishment suggests the stablized society and royal authority of the then Joseon.

명 홍무제의 관복제정에 관한 연구

전혜숙(Hea Sook Chun),류재운(Jae Woon Ryoo) 한국복식학회 2005 服飾 Vol.55 No.2

This paper researches the system of official uniforms and characteristics of the system based on Ming-Shi(明史), Da-Ming-Hui-Dian(大明會典) and Hong-Wu-Li-Zhi(洪武體制) in the emperor Hong-wu(洪武帝) of Ming dynasty(明). The system could be divided in to three terms, i.e.,the early (initial), the middle and the end (last) terms. In the first(1368) & the third year of the emperor`s reign (1370) the system of official uniforms was simple for his people not to be luxurious and for revived the system of official uniforms of the Han dynasty(漢) and annulled the system of the Yuan dynasty(元), be-cause the country was not stable yet. During the middle term of Hong-wu, the 14th (1381) to 16th (1383) year of his reign, people attained luxurious lives and developed a strong sense of rank as the country became more stable. As a result, the system became more complicated when the emperor used the costumes to represent political and social ranking. In the end of the emperor`s age, the 23rd (1390) to 26th (1393), it reveals his strong intention to establish a system of costumes that separated the ruler from the ruled. He wanted to strengthen the power of Emperor for his little grandson, Jian-wen(建文帝), who would succeed to the throne and would have absolute power. These changes became fundamental to the Ming dynasty`s costume system and the Ming dynasty kept them for long time.

세종대 복식정책과 고제연구의 상관성

전혜숙(Chun Hea-Sook),류재운(Ryoo Jae-Woon) 한복문화학회 2006 韓服文化 Vol.9 No.1

King Sejong accepted all systems of the Ming Dynasty because it had political, military, economical and cultural power and was also the country of origin for Confucianism. He was thoroughly active in assuring distribution of Confucianism-based systems. He devoted himself to the study of classical ideologies with a view toward making Chosun a fully Confucian nation by implementing an independent policy in all fields. Especially in the early Chosun period when they started to establish Confucianism his classical ideologies had their greatest effected on the System of Official Uniform. Under stable political foundations and with some restraining influence by Ming, King Sejong established such a system to define a national civilization based on the principles of Confucianism.<br/> In this way he didn't copy the official uniform system of the Chinese nation but created a system after fully considering its social ramifications, not just imitating the Chinese official uniform. This study details for us King Sejong's active and independent approach to establishing such a policy.

조선 태종대 관복제정에 관한 연구

전혜숙(Hea Sook Chun),류재운(Jae Woon Ryoo) 한국복식학회 2006 服飾 Vol.56 No.7

조선 태조대 관복제정에 관한 연구

전혜숙(Chun Hea-Sook),류재운(Ryoo Jae-Woon) 한복문화학회 2005 韓服文化 Vol.8 No.3

In the early Chosun when royal authority was not still firmly established, King Taejo, Lee Sung Gye tried to make their political position guaranteed through relationships with Ming. making efforts to develop relations with the Chinese nation positively. This political orientation towards Ming by of the king Taejo was also clearly reflected in the settlement of official uniform in the early Chosun, which can be described as follows.<br/> Lee Sung Gye founded a new dynasty through overturning revolutions led by him. To make the throne legitimate, he first accepted official uniforms of Ming as standard. And he tried to establish fundamentals of the newly founded kingdom and his political position by making all systems and institutions of Chosun correspond to those of the Chinese Confucianist nation and maintaining smooth relations with Ming. But King Taejo didn’t unconditionally follow systems and institutions of Ming, but rather tried to keep the independence of Chosun even under difficult conditions. This was also true in relation to the settlement of official uniform.

명[明] 영락제의 복식정책

전혜숙(Hea Sook Chun),류재운(Jae Woon Ryoo) 한국복식학회 2005 服飾 Vol.55 No.6s

唐代 胡風化粧文化 硏究

전혜숙(Chun Hea-Sook),이애련(Lee Ae-Ryun),류재운(Ryoo Jae-Woon) 한복문화학회 2004 韓服文化 Vol.7 No.2

Cosmetic culture of the Chinese rang period was very exotic and included various kinds and methods of make-up. It was clearly discriminated from other Chinese traditional cosmetic cultures. This exotic culture was called 'ho pUng' during this period. This study also defined exotic practices of cosmetic culture collectively as 'ho pung' cosmetic culture. Thus the pUrpose of this study is to examine why the unique 'ho pung' cosmetic culture blossomed under the social structure of rang and determine the characteristics of such culture.<br/> In the Chinese nation, the 'ho pung' cosmetic culture bloomed in a variety of ways through the import of cosmetic goods and imitation of alien nations makeup methods. This was brought about by extended trading activity following the exploitation of new trade routes and increased international exchanges based on contemporary tribute systems. The following reasons were cause for and directly reflected in the 'ho pung' cosmetic culture: Flexible policies about aliens based on the idea of union between Chinese and the other races exotic orientation through free cultural exchanges with foreigners having various positions and roles and the pursuance of both real and religious perfection brought about by a spiritual emptiness following a period of material abundance.<br/> The period of rang is the time Chinese people proudly consider as best representing their nation throughout the history of China. Nevertheless, cosmetic culture of the same period was in fact represented by 'ho pung' cosmetic culture. In conclusion, 'ho pung' cosmetic culture of the rang period makes clear that the culture of the nation was not based on traditions of the Han race, but an outcome of international influences and the infusion of alien cultures.<br/>

明朝의 服飾制定에 관하여(Ⅰ) : 男子冠服을 中心으로

전혜숙,류재운 東亞大學校 附設 生活科學硏究所 2002 생활과학연구 논문집 Vol.10 No.-

The Kings Hong-Mu(洪武帝, 1368-1398) and Young-Lak(永樂帝, 1403-1424) ages are considered the fathers of the strongest imperial power in all Chinese history. In those days, many national dress institutions were caused by the amalgamation of old and new power and the effort subsequent to stabilize society. A traditional chinese dynasty had severe regulations regarding its dress system, in showed the authority and power of the dynasty. These factors were an important way for keeping their political power. King Hong-Mu tried to get out of Won(元) institutions by taking the traditional manners of the Han race seriously, so he could restore order and being about a cultural revival. He then used national dress institutions as a way for establishing these aims. He also needed a strong absolutist monarchy to restore order and lay the groundwork for social and political stability. In the first year of the reign King Hong-Mu(1368), the traditional dress system of Oh-Myun(五冕) was suggested. In the 3rd year of his reign(1370), he adopted the rules of Zhou(周), Han(漢), Tang(唐), Song(宋), and so idolized the color red. At that time, the foundation of the Ming dress institution was layed, embodied chiefly by the imperial Myun-bok(冕服, included Myun-Liu Kwan, 冕旒冠), Sang-bok(常服, included Ik-son-kwan, 翼善冠), an the empress' full dress and so on. In the 16th and 26th year of King Hong-Mu, regulations returned to the original uniform system, again on a large scale. All dress institutions of King Young-Lak were established in his third year, mainly imperial Myun-bok, and the emperor and empress' official dress. They represented the partial alternation of the King Hong-mu's dress setting. But sovereign and subject's official dress system followed after the King Hong-Mu's dress constitutions. It is supposed that King Young-Lak intended to avoid conflict with old subjects. Many of the national dress institutions ordered all classes to confirm to this dress code, in a manner similar to the Tang policy during the ages of Kings Hong-Mu and Young-Lak. Those national dress institutions constituted the foundation of national dress institutions in the Ming dynasty and kept is for a long time.

唐代 化粧 硏究

전혜숙,이애련,류재운 東亞大學校 附設 生活科學硏究所 2003 생활과학연구 논문집 Vol.11 No.-

The purpose of this study is to look into the cosmetic culture of T'ang and its characteristics through reviewing historic relics such as paintings and 'doyng'(陶俑), which were created when the Chinese nation was founded and then prospered, and relevant literature. First, make-up for skin was based mainly on 'baekjang(白粧)' using 'bun(粉)' that had been applied to facial whitening since the period of Seonjin. But in the period of T'ang, methods of make-up with differently colored and perfumed 'buns' were popularized. 'Yeonji(연지)' as a main material for 'hongjang(紅粧)' was a red pigment, which was later added with oil and fat. The reason why 'hongjang' with yeonji added was in fashion in T'ang was not only because people of the Chinese nation pursued the beauty of red color, but also because the method of make-up was effective in protecting the skin. Second, partial make-ups of the T'ang period were investigated here in terms of some body parts, forehead, eyebrow, cheek and lips. 'Aekhwang(額黃)' meaning the make-up of the forehead was performed by way of decorating the middle of the body part with a yellow pigment. Originated from the decorative style of Buddhism, 'Aekhwang' was widely distributed as the religion prospered in the period of T'ang. 'Hwajeon(花鈿) used more colors, materials and patterns than 'aekhwang'. But the former was a transformation of the latter. The make-up of the eyebrow varied in shapes and names, having 15 to 16 methods ranging from 'ami(蛾眉)' meaning a thin, long eyebrow to 'kwangmi(廣眉)', wide eyebrow, as a variety of make-up materials were introduced into the Chinese nation. The traditional 'seokdae(石黛)' was not used any longer. Instead, one of imported cosmetics, 'najadae(螺子黛)' came to be widely used. For 'sahong(斜紅)' as the make-up of the cheek, yeonji was used to decorated scar shapes onto between hair on the temples and the eyebrow. While, 'jangyeop(粧?)' was a facial decoration which was made onto the dimple. It had been extended onto the rounded sides of the nose and varied in shapes since T'ang began to prosper. 'Sahong' and 'jangyeop' contributed to developing an unnecessary decoration like scar into a cosmetic culture. This is not easily acceptable from aesthetic views. So, the twos should be further studied. For a beautiful decoration of lips, 'sunji(脣脂)' and 'kuji(口脂)' were mainly used to dye the body parts. Lips as red as a cherry small in 'jeomsun(点脣)' and sensually mature in appearance, were popular in the period of T'ang. Based on the import of a great amount of cosmetic materials and trends of the imitation of aliens' white skin, make-ups in fashion in the period of T'ang were too much various and diverse in methods, including 'hongjang' making the face red for skin care and protection, 'buljang(佛粧)' seeking happiness under the prosperity of Buddhism and other special and unique decorations beyond conventional aesthetic views.