조선후기 감로탱화 하단화를 통해 본 예인복식 연구(제1보) - 사당패 남자복식을 중심으로 -

홍나영,민보라,Hong, Na-Young,Min, Bo-Ra 한국의류학회 2006 한국의류학회지 Vol.30 No.1

This study is focused on the man's costumes of Sadangpae(the troupe of performers) shown in Gamrotaenghwa (감로탱화) during the late Chosun dynasty. Originally Gamrotaenghwa was used as a painting for a Buddhist praying ceremony, 또Young-ga-cheon-do-je(영가천도제). It shows us the lives of the commoners in those days. Gamrotaenghwa reflects the changes of costume style in the late Chosun period. The early styles of po(포, coat) for male performers in the 17th century were changeui(창의) and dopo(도포), which had the front panels(seop) overlapped deeply and sleeves that got wider as time passed. After the 18th century, Male performers wore a simpler coat such as sochangeui(소창의), which had narrow sleeves and long slits on the both sides. Especially the coats of acrobats were fastened on the center front with buttons. Heuklip(흑립: black hat), somoja(소모자: small cap) and jeonlip(전립: wool hat) were used as hats for the male performers. Originally, heuklip was the hat that represented the noble status: yangban(양반). However, it was popularized among the commoners in the late Chosun period. As time passed on, the heuklip became more popular and its shape also changed. Somoja and jeonlip were shown throughout the entire Gamrotaenghwa. Unlike heuklip, those were common hats for Sadangpae. The costumes of entertainers shown in Gamrotaenghwa were very similar to those of the commoners. However, it seems that there were some differences of the costumes depending on the roles they performed.

족두리에 관한연구

김지연(Ji Yeon Kim),홍나영(Na Young Hong) 한국복식학회 1999 服飾 Vol.43 No.-

This is a study of CHOK-DU-RI(簇頭里), a black crown-like headpiece worn by woman on formal occasion in Chosun Dynasty, and has succeeded until now. CHOK-DU-RI was originated by BOKTAK, worn by Mongolian noblewomen and inflowed to the last period of Koryo Dynasty under occupation of Yuan. The documentary records of O-JU-YON- MUN-CHANG-JON-SAN-KO(五洲衍文長箋散稿) by Lee Kyu-kung, CHUNG-JANG-KWAN-JON-SUH(靑莊館全書) by Lee Tock-mu and KO-SA-TONG(古事通) by Choe Nam-sun verify CHOK-DU-RI is a custom of mongolian fusion that was affected by KO-KO of Yuan and was formed. KO-KO(故姑) is the same as BOKTAK(БОГТАГ). It is assumed KO-KO is a borrowed name, as its transcription varies. The name was given according to its appearance, which is certified by the record CHANG-CHUN-CHIN-IN-SEO-BANG-YU-RAM-KI(長春眞人西方遊覽記). It says that it can be simply named KO-KO, as its edge is alike a goose or a duck. In addition, KO-KO was called CHOGTAI in case of being added a camel fur, that is JUGDUR. CHOGTAI similarily pronounced with CHOK-DU-RI, which proved CHOK-DU-RI was originated in Mongol. The shape of BOKTAK is very high and wided toward the top, with the angle getting more pointed and a feather stuck on the side. But its height got lower and its size smaller as it did gradually Koreanized to a CHOK-DU-RI. The use of CHOK-DU-RI has been settled since the last period of Chosun Dynasty. It came to stay as a popular custom when King Young-jo and Jong-jo, wanting to do away with the corrupt practice of KA-CHE(가체), encouraged women at that time to do their hairs with CHOK-DU-RI instead of KA-CHE, It is as follows the classification of CHOK-DU- RI. First, classified by a use, the group is divided into ceremonial use such as the seven treasures CHOK-DU-RI and jeweled CHOK-DU-RI, a use of sacrificial rites such as plain CHOK-DU-RI, and a use of funeral rites such as white CHOK-DU-RI. Hereby it is assumed that CHOK-DU-RI was used regardless of fortune. Secondly, it varies by its type of frame. There are SOM(padded) CHOK-DU-RI, HOT(single- layer) CHOK-DU-RI and O-YOM CHOK-DU-RI, a kind of SOM CHOK-DU-RI, formed a base of 0-YOM-MO-RI. The third group by jeweling has WHE-BONG(single-pole) CHOK-DU-RI and TA-BONG(multi- pole) CHOK-DU-RI. Jeweled CHOK-DU-RI can be still seen being commercially lent and worn by the brides at nuptical ceremonies performed in tradition of fashion and when worn by a bride as she gives her parents to her parents-in-law.

화관(花冠)에 관한 연구

홍나영(Na Young Hong) 한국복식학회 2000 服飾 Vol.50 No.3

This study investigated the history of whakwan(crown, 花冠) and classified the types of whakwan according to its structure. Whakwan seemed to originate from the custom of sticking flowers in the hair which was the reflection of human desire for pursuing the beauty. The whakwan first appeared in the Oriental painting during the Tang period and became fashionable in Song. It is not clear when whakwan was introduced into Korea, but it is assumed to be greatly influenced by the Song whakwan. The Korean record on whakwan showed for the first time in the reign of King Sejong and whakwan was used for the costume of a dancing boy. Though the present type of whakwan appeared only once in the painting of the reign of King Seonjo, there are a number of whakwans in the latter part of the Chosun dynasty. Now there exist three types of whakwan in Korea. The first type is similar to that of Chokduri in decoration. But it was made of paper, had the double structures of inner and outer part and was decorated by Yangkwan`s vertical lines of gilt paper. The second type is the whakwan made of artificial flowers with various color cords and was widely used in Gaesung and Pyungyang regions. Finally, though the third type is similar to Sabangkwan, its outside was decorated gaudily by Dangchae (colorful painting) and it was assumed that dancing boys put it on their head for various banquets. Out of these three types, the first is most representative. Black was the popularly used color for the first type and this type was used either for brides on wedding ceremonies or for shamans or palace dancers. The second type was widely used in Gaesung and Pyungyang regions. But the differences in the shape of whakwan of the two regions showed the regional characteristics of traditional costumes in Korea. The third type was most likely to be used in the dance for palace banquets, but it is necessary to further investigate whether shamans actually wore this type of whakwan.

조선왕조의 왕비법복에 관한 연구

홍나영(Na Young Hong),유희경(Hi Kyung Ryou) 한국복식학회 1983 服飾 Vol.7 No.-

Sacredotal robe(法服) means full court dress. We can`t know about the shape of sacredotal robe before Dae-Han Empire(大韓帝國) since there are no remains of it. The study of sacredotal robe for queen have also been made centering around the socredotal robe granted from Ming(明) dynasty and the system of Juck-Eui(翟衣) in Dae-Han Empire. In this thesis I tried to study about the sacredotal robe for queen from King Gong-Min(恭愍王) of Koryeo(高麗) dynasty to the close the Cho-Sun(朝鮮) dynasty by investigating the Literature of Cho-sun Dynasty Chronicles(朝鮮王朝實錄), Ga Rae Do Gam Eui Gue(嘉禮都監儀軌), Sang Bang Jung Rae(尙方定例), Gook Hon Jung Rae(國婚定例), Sok-Orae Eui-Bo(續五禮儀補), and Dae Myung Whe Jeon(大明會典). The first documents on sacredotal robe for queen is regarded as that in the period of King Gong Min., which says that Chil Whee Gu Bong Gwna(七휘九鳳冠) and Juck Eui of the 9th grade had been given from Ming dynasty. The sacredotal robe for queen in Cho-sun had been grated from Mingdynasty since the 3th years of King Tae-Jo(太祖) to the 3th years of King In-Jo(仁祖). They were Ju Chui Chil Juck Gwan(株휘七翟冠), red Dae Sam(大衫), Bae Ja(褙子) embriodered with pheasants on blue silk, and ivory flat baton (笏), which belonged to the court dress for the first class of court lady. When Qing(淸) dynasty succeeded to Ming dynasty, Cho-sun adopted the system of juck Eui which had it`s origin in the system of Ming, denying to comply with Chung. but as a matter of fact, the system of sacredotal robe for queen actually used was one which were different from the dress system of Ming and converted into our national ways. In the later period. of Cho-sun, the system of Bae Ja or Juck Eui were used together until the period of King Young Jo(英祖), and the system of Jack Eui which was written in Good Hon Jung Rae was continually used from King Young Jo to the close of Cho-sun. It was composed of Juck Eui, Beol Eui(別衣), Nae Eui(內衣), Pe Sool(蔽膝), Dae Dae(大帶), HaPi(霞??), Sang(裳), Ok Dae(玉帶), Pae Ok(佩玉), Gue(圭), Mal(襪), Suk(석), and Myun Sa(面紗), The headdress was used in our own ways, not complying with Juck Gwan(翟冠). The color of Juck Eui was red for queen, deep blue for the consort of the crown prince. The color of Juck Eui in Dahan Empire was deep blue, different from that of Juck Eui in Cho-sun. Bo(補) for queen wus embroidered with dragon with five claws and the one for the consort of crown prince with dragon with four claws. The back length of Juck Eui was longer than front about 28cm(1尺), and the front opening was straight down. 51 motifs of a brace of pheasants which were similiar to bong(鳳) were embroidered on Juck Eui for queen. But we can`t find our whether there 31 or 51 on Juck Eui for the consort of the crown prince. The system shows independant aspects, because there are Bo, Myun Sa, Sang, Ha Pi, Beol Eui, and Nae Eui which were not found in the system of Ming. As mentioned above, I have studied on the sacredotal robe for queen. But we can`t guess the detail of sacredotal robe for queen, because there are no remains at all. Therefore I expect more study on this.

조선시대 복식에 나타난 여성성

홍나영 ( Na Young Hong ) 한국고전여성문학회 2006 한국고전여성문학연구 Vol.0 No.13

궁중숭불도에 나타난 16 세기 복식연구

홍나영(Na Young Hong),김소현(So Hyun Kim) 한국복식학회 1998 服飾 Vol.38 No.-

The costume style of the Chosun dynasty changed greatly after Imjinwaeran (the Japanese Invasion of Chosun Korea, 1592∼1598). Most of the extant costumes come from the late Chosun, but some costumes produced before Imjinwaeran have been excavated, and in addition, information on these older constumes is contained in contemporary literature. Of especial value in the study of pre-Imjinwaeran Chosun constumes is a mid-sixteenth century palace painting depicting the worship of Buddha, a painting in the collection of the Ho-Am Art Museum in seoul. The present study of costume during the middle Chosun dynasty focuses on this painting, and compares it with other contemporary palace paintings, and with Nectar Ritual Paintings. The following conclusions were drawn: * Concerning woman`s hair styles of the time, married women wore a large wig. Unmarried women braided their hair, and then either let it fall down their back or wore it coiled on top of their head. * The major characteristic of woman`s costumes was a ample, tube-like silhouette,with the ratio of the Jeogori (Korean woman`s jacket) and skirt being one-to-one. * The style of Jeogori in the painting was like that of excavated remains. Some Jeogoris were simple (without decoration), while some Jeogoris were worn with red sashes. Here we can confirm the continuity of ancient Korean costumes with those of the sixteenth century. * Although the skirt covered the ankles, it did not touch the ground. Because the breadth of the skirt was not wide, it seems to have been for ordinary use. Colors of skirts were mainly white or light blue. * All men in the painting wore a headdress. Ordinary men, not Buddhist monks, wore Bokdu (headstring), Chorip (straw hat), or Heukrip (black hat). In this painting, men wore a Heukrip which had a round Mojeong (crown). * The men wore sashes fastened around their waist to close their coats, which was different from the late Chosun, in which men bound their sashes around their chest. That gave a ratio of the bodice of the coat to the length of the skirt of one-to-one, which was consistent with that of woman`s clothing. * In this painting, we cannot see the Buddhist monk`s headdress that appeared later in the Chosun, such as Gokkal (peaked hat), Songnak (nun`s hat), and Gamtu (horsehair cap). These kinds of headdresses, which appearedin paintings from the seventeenth century, were worn widely inside or outside the home. Buddhist monks wore a light blue long coat, called Jangsam (Buddhist monk`s robe) and wore Gasa (Buddhist monk`s cope), a kind of ceremonial wrap, round their body. We can see that the Gasa was very splendid in the early years of the Chosun dynasty, a continuing tradition of Buddhist monk`s costumes from the Koryo dynasty.

경주의 문화이미지를 응용한 의류제품 개발

홍나영(Hong Na-Young),신혜성(Shin Hye-Sung),김정아(Kim Jeong-Ah) 한복문화학회 2008 韓服文化 Vol.11 No.1

As cultural tourism in the contemporary society IS rising as the most value-added Industry In the 21 st century, developing products based on market economy IS also emphasized in the tourist industry. Tourist cultural products as Important commodities for tourists to remember their travels are one of important tourism products. In korea, however, there are not many places that deal with tourist souvenirs reflect local characteristics or unique cultural heritages. This study purposed to develop graphic Images applicable to tourist cultural products using cultural heritages In Gyeongju as their motives. The various application of developed graphic Images may contribute to the production of marked tourist cultural products bring Into relief peculiar Image of Gyeongiu and their high added-value.

고구려 복식의 양식 분석

홍나영(Na Young Hong),이미현(Mi Hyeon Lee) 한국복식학회 2005 服飾 Vol.55 No.2

The purpose of this study is to analyze the style of trousers of Koguryo(高句麗). Trousers of Koguryo were called Go(袴: trousers) and those had various forms according to the shape of gusset(dang, 당), width and length of the trousers. Commonly the trousers that had worn hr Koguryo people had gausset in those bottom not to be shown hip. The gausset was cut triangle or square so if a person wear the trouser with the triangular gausset, the trouser has a pointed hip. Sometimes the trousers had non pointed hips were dicovered in the wall-paintings of the Koguryo tombs, they are thought the trousers that had no gaussets or square one. And also there were another trousers that had wide/narrow legs and long/short legs. Trousers of wide legs were called Gn-ango(寬袴) and narrow legs Sego(細袴). Gwango(寬袴) grew wider over time and in the late age, the trousers were called Daegugo(大口袴) with wide ends were worn. Trousers were also decorated elaborately with patches on the edges, leg ties, vents, etc.

후단 방령반비에 관한 고찰

홍나영(Na Young Hong) 한국복식학회 1999 服飾 Vol.44 No.-

Hudan Bangryung-Banbee was the name for a traditional dress which had a square neckline collar. Among Bangryung-Banbee, there was a particular style which, plus with the square neckline collar, had the half-length sleeve, bodice whose back length was shorter than the front. This kind of style shows a big difference from the typical pattern of traditional Korean costumes which had the V neck and had to fold the neckband of the clothes in Y-shape. This study focused on the analysis of the change of Hudan(後短) Bangryung-Banbee style. Bougryung-Banbee of the half sleeve/shortened back style had been usually excavated around the period of the Japanese invasion of Chosun dynasty (1592-1598). And up to now this kind of the costumes was never found before the fifteenth century or after the eighteenth century in Korea. Therefore it is thought that Bangryung-Banbee was worn widely in the middle of the Chosun dynasty. However, the shape of the collar and the length of sleeve and of dress were variously used, so it must be recognized that there existed much more diverse styles of Bangryung-Banbee than it was known today. But as the times passed away, the lined Bangryung-Banbee disappeared. and the collar of Bangryung-Banbee changed from square neckline to rounded Wonsam(圓衫) or Baeja(背子)-shape. And in the case of Bangryung-Banbee`s front length, the original style disappeared, while a new style of longer back appeared.

출토복식을 통해서 본 조선시대 남자 편복포의 시대구분

홍나영(Na Young Hong) 한국복식학회 2008 服飾 Vol.58 No.5