일본의 중세 가마쿠라․무로마치 시대의 염직과 복식

이경희 한국니트디자인학회 2021 패션과 니트 Vol.19 No.2

This study investigates textile and costume culture in the Japanese Medieval Age. The Japanese Medieval Age includes Kamakura period(1185-1333) and Muromachi period(1336-1573). Late 12th century, the power center of the caste stated to move from Kuge(nobles) to Buke(samurais). Clothing changed, moving from the extremely fancy clothing of the Heian period into a much simpler form. The kimono was no longer worn by those of the samurai class. The women of the samurai class adopted the simple white kosode of the Juni-hitoe as the principal outer garment, thus changing it from an undergarment to an actual outerwear garment. The sleeves were also partially sewed up. The formal outer garment was reserved only for use on special occasions. During Muromachi period, the aristocratic culture of the Heian period decayed and the Samurai gained power. Clothes were modified to be simpler and easier to move around in to fit the more active lifestyle of the samurai. They basically wear light clothes except for when they have to wear in formal armored style. Men of the samurai class, wore a decorated brocade version of the hitatare worn by the peasants of the Heian period. Even when making an ostentatious display of impracticality with the highest levels of formal wear, the samurai aesthetic demanded a way to make the impractical practical. Women of this new ruling class took up a version of the courtly formal wear of their predecessors, as a way of displaying their education and refinement, but wore fewer layers as a sign of their frugality and practical-minded nature.

고려말-조선초 대마도와의 통교 공백기 (1369~1397)의 배경 및 양상 -이마가와 료슌(今川了俊)의 대마도에 대한 영향력을 중심으로-

송종호 한일관계사학회 2023 한일관계사연구 Vol.82 No.-

The friendly interaction relation (通交關係) established in 1368 between the Koryo government and Tsushima broke off in less than one year. The state of no friendly interaction between Koryo-Joseon government and Tsushima, which is defined in this study as ‘Blank Period’, continued for about 30 years from 1369 to 1397. Up to today, the topic of the Blank Period has long been out of the main area of interest of scholars. However, this Blank Period is a very important topic, as it connected the Koryo-Tsushima interactions in 1368 and the Joseon-Tsushima friendly interactions having continued for several centuries since the start of the 15th century. This study covers the backgrounds and aspects of the Blank Period mainly in the aspect of the influence of Imagawa Ryoushun (今川了俊), Kyushu Tandai (九州探題) at that time. In the decade of 1370s, the Muromachi bakufu needed to achieve the three goals, which were in effect one same goal: (i) the establishment of diplomatic relation with Ming dynasty, (ii) the conquer of the Southern court in Kyushu, and (iii) the control of Wakou (倭寇 ; the Japanese marauders). The person who took the role in Kyushu for these goals was Imagawa Ryoushun. In fact, he tried his best for the goals of (ii) and (iii) above, achieving some tangible results. Based on such achievement, he held an unrivaled position in the diplomacy between Japan and Koryo- Joseon. This study clarifies that, based on the delegated power from the Muromachi bakufu, Imagawa Ryoushun prohibited Japan’s local powers from communicating with Koryo, and that Tsushima was not able to communicate directly, nor to engage in any friendly interactions, with Koryo accordingly. In case that there occurred any issue between Koryo- Joseon and Tsushima, Imagawa Ryoushun prohibited Tsushima from contacting Koryo-Joseon directly, and instead consistently forwarded the bakufu’s strong will for the control against Wakou to the Koryo-Joseon government directly for himself. Such Ryoushun’s strong influence on Tsushima continued until 1395, in which he was removed from his post of Kyushu Tandai. Up to today, the current prevalent view on the start of friendly interactions between Joseon and Tsushima has focused an economic aspect, emphasizing the economic ‘appeasement policy’ of the Joseon government. But, with respect to the background of the start and continuance of the Blank Period, Imagawa Ryoushun’s influence on Tsuchima had a great effect. Therefore, a comprehensive approach, covering various aspects including political and social aspects, as well as economic aspect, should be required in the study on the start and development of the friendly interactions between Joseon government and Tsushima.

『테이킨오우라이(庭訓往来)』로 보는 숟가락 문화 ―주석과 삽화를 중심으로―

도기홍 한국일본문화학회 2023 日本文化學報 Vol.- No.97

This article was written in the Muromachi period and analyzed the method, notation, and shape of the spoon in the educational text "Teikinoura" which continued to be used until the Meiji period, focusing on the interpretation and illustration of the annotation. Although it is generally believed that the spoon was not used, it led to the inference that "Teikinourai" was used as an educational text and learners began to recognize the spoon. Furthermore, through the review of the "Teikinourai" annotation, it will be possible to expand the scope of research on spoon culture to the Edo period. After the middle of the Edo period, the possibility of expanding the scope of the traditional history was confirmed as the possibility of the spoon culture brought by Chinese immigrants was discovered. 本稿は室町時代に著され、明治時代まで使われつづけた『庭訓往来』という教育用のテキストにおける「筋匙」の表記の仕方、表記法、匙の形などを注釈書の語釈と挿絵を中心にして分析したものである。通説においては匙が使われていなかったとされている時期であるが、"Teikinourai"が教育用のテキストとして使われ、学習者が匙を認知していた可能性があるという推論に至った。また、"Teikinourai"の注釈書の検討を通して、江戸時代にまで匙文化の研究の範囲を広げることができるだろう。江戸時代の中期以降、中国からの渡来人がもたらした匙文化の可能性を見つけたということから、今後の通史的な範囲の拡大の可能性を確認した。

일본 무로마치 시대 수묵화 연구에 나타난 셋슈와 셋손의 인식에 대한 문제

이원진 ( Won Jin Lee ) 미술사와 시각문화학회 2016 미술사와 시각문화 Vol.17 No.-

이 논문은 일본 무로마치 시대(室町時代, 1337-1573)의 수묵화(水墨畵) 연구에서 중요하게 거론되는 두 화가인 셋슈 토요(雪舟等楊, 1420-1506?)와 셋손 슈케이(雪村周繼, 16세기 활동)를 다루고자 한다. 두 화가의 관계성 인식에 대한 문제에 주목하게 된 것은 직접적인 연관성이 불분명하면서도 셋손이 셋슈의 계승자로 등장하고 있는 ‘계보(系譜)’를 어렵지 않게 발견할 수 있으며, 심지어는 계보와 더불어 문장 속에서 “셋슈, 셋손”이라는 표현이 자리 잡고 있는 현상을 자주 목격하기 때문이다. 이 논문은 셋슈와 셋손이 일본 수묵화를 대표하는 ‘거장(巨匠)’으로 나란히 언급되는 것은 어떠한 배경에서 비롯된 것인가라는 의문에서 시작한다. 논문의 전반부에서는 셋손과 동시대 활동한 운코쿠 토간(雲谷等顔, 1547-1618)과 하세가와 토하쿠(長谷川等伯, 1539-1610)를 통해 셋슈와의 관계성 문제를 살펴보고자 하였다, 토간과 토하쿠는 화가로서의 정당성을 확보하기 위해 셋슈를 개조로 한 새로운 계보를 설정함으로써 셋슈와의 관계성을 만들려고 노력했다. 반면, 셋손이 셋슈와의 사제 관계를 실질적으로 입증하는 사료는 당대에는 발견되지 않으며, 토간과 토하쿠가 경쟁적으로 설정한 계보를 셋손에게서는 찾을수 없다. 이 같은 정황으로 인해 셋손이 셋슈의 계보에 포함된 것은 후대에 의도적으로 ‘만들어진’ 것이라는 비판으로 이어질 수 있지만, 본 논문의 초점은 이러한 비판에서 한 걸음 더 나아가 ‘계보’를 통한 관계성의 인식이 얼마나 가변적인 것인가를 살펴보는 데 있다. 따라서 논문의 후반부에서는 20세기 이후 진척된 셋슈와 셋손의 관계성에 대한 연구사적 고찰을 면밀히 시도하면서, 셋손에 대한 연구와 인식이 셋슈와의 관련성 속에서 어떻게 변화하고 있는지를 중점적으로 살펴보고자 하였다. 연구사적 고찰을 통해 보았을 때, 셋슈와 셋손의 관계성은 실질적으로 규명할 수 없는 것이기에 막연하게 둘을 대비하는 서술에 그치고 있었으며, 셋슈와의 관련성을 언급한 의도 속에는 대부분 셋손을 부각시키기 위한 목적을 가지고 있음을 파악할 수 있었다. 20세기 전반 셋손을 부각시키는 데 가장 직접적인 기여를 한 인물은 오카쿠라 텐신(岡倉天心, 1862-1913)이었다. 그는 셋슈를 능가할 만한 화가로서 셋손을 극찬하면서, 무로마치 시대의 주요 수묵화가들을 소개하는 계보에서 셋손이 셋슈를 잇는 의도적인 계보 설정을 제시함으로써 셋슈와 셋손을 연결시켰다. 그런데 셋손이 실질적으로 부각되고 재평가되기 시작한 것은 오카쿠라 텐신의 계보에서가 아닌, 1970년대 츠지 노부오(십惟雄, 1932-)가 제시한 ‘기상의 계보(奇想の系譜)’라는 에도 시대(江戶時代, 1603-1868)의 이색적인 화가들의 새로운 계보에서 셋손이 ‘개조’로 등장하면서부터라는 점은 논문을 진행하면서 새롭게 발견하게 된 부분이었다. 사실 츠지가 ‘기상의 계보’에서 재평가의 대상으로 의도한 인물은 이토 자쿠추(伊藤若沖, 1716-1800), 소가 쇼하쿠(曾我蕭白, 1730-1781)와 같은 에도 시대의 화가들이었지만, 셋손은 그 이전 시기의 화가들 중에서는 ‘기이함’이라는 조건에 가장 잘 부합하는 인물로서 계보의 ‘선단’에 위치할 수있었다. 셋손의 작품에서 지속적으로 평가되었던 ‘기사(奇思)’의 요소가 1970년대부터 기이함에 대한 관심으로 부각되고, 셋손은 2000년을 기점으로 에도 시대의 기상의 화가들과 함께 폭발적인 관심과 인기를 얻게 된 것이다. 그리고 이 인기를 등에 업고 이미 확고한 명성을 가지고 있던 셋슈와도 대등한 관계로 인식될 정도로 부각될 수 있었다. 이렇게 본다면, 셋손은 츠지 노부오가 제안하고, 그의 제자들이 지지한 ‘기상의 계보’의 가장 큰 수혜자라고도 할 수 있다. This essay explores the issues concerning Sesshu - To - yo - (1420-1506?) and Sesson Shu - kei (active 16th century), the two most prominent Zen Buddhist monk-painters of the Muromachi period (1337-1573) in Japan. The initiative for this study is based on a noteworthy phenomenon in the history of visual arts: although there is no direct link between the two, Sesson is often regarded in general as a successor to the Sesshu - ’s lineage, and two artists are often referred to as a pair, “Sesshu - and Sesson.” This study also departed from a question that what historical conditions made possible to address Sesshu - and Sesson as “two” leading masters of the Japanese monochrome ink painting. The first part of this essay examines this issue through the activities of Unkoku To - gan (1547-1618) and Hasegawa To - haku (1539-1610), who were the contemporaries of Sesson and actively involved in the environment of competitive genealogizing, leading them to articulate explicitly their own pretensions to the prestigious Sesshu - lineage. Both painters claimed Sesshu - ’s direct artistic descent and legitimacy by asserting their own lineage, which still survive today. However, in the case of Sesson, there is no evidence of himself claiming to Sesshu - ’s heritage, nor historical sources survive to prove their artistic interactions. Such circumstances can be criticized and concluded that Sesson has no links to Sesshu - at all. And it may be pointless to look at their connection in the history of visual arts. However, this study attempts to move forward to seek how variable the lineages of painters are, and how they can be changed according to the needs and conditions by the creators. The latter of part of this essay examines the previous academic research on the artistic interaction between Sesshu - and Sesson, and focuses on how the understanding and perception of Sesson changes in the association with Sesshu - . Previous discourses on Sesshu - and Sesson describe their relationship with vague and obscure rhetoric, as Sesson has no direct link with Sesshu - . Furthermore, scholars who referred Sesshu - and Sesson as a pair intended to emphasize Sesson as the most important painter. In the early 20th century, it was Okakura Tenshin (1862-1913) who played a key role in the understanding of Sesson as the painter whose artistic technique and ability could rival with that of Sesshu - . Teshin also suggested the influential genealogy of Muromachi ink painters, in which Sesson emerges as a descent of Sesshu - . However, it is noteworthy that Sesson was revaluated and became most popular after the 1970s, as this was the time eccentricity of Sesson’s works drew keen attention to public. And this coincides with art historian Tsuji Nobuo (1932-)’s publication of The Lineage of Eccentrics (J. kiso - no keifu), the seminal book proposed for reappraisal of the eccentric artists of the Edo period (1603-1868), such as Ito - Jakuchu - (1716-1800) and Soga Sho - haku (1730- 1781). Tsuji’s new Lineage at the same time enabled Sesson to emancipate from Sesshu - ’s lineage and became the precursor of the Edo eccentric artists. In this moment of revival for the eccentric artists, the understanding of Sesson changed from “Sesshu - ’s artistic descent” to “rival of Sesshu - ,” positioning him as one of the leading masters of Muromachi period. Therefore, we can conclude that the understanding of “Sesshu - and Sesson” is present-day phenomenon and that Sesson is the formidable beneficiary of The Lineage of Eccentrics.

가게키요(景清)와 경청(景清)에 대한 소고(小考)

김미옥(金美玉) 중앙대학교 일본연구소 2013 日本 硏究 Vol.0 No.35

Taira no Kagekiyo(平景清) was a samurai of the Taira clan who took part in the Genpei War of Japan, against the Minamoto clan. He was captured at the battle of Dan-no-ura in 1185. In 1196, Kagekiyo then allowed himself to starve to death at the new capital of Kamakura. Kagekiyo is perhaps most famous for his appearance in the eleventh chapter of the fictionalized epic The Tale of Heike, in the section called The Dropped Bow(弓流). Kagekiyo starred a warrior in the The Tale of the Heike. But through Yōkyoku in the The Kagekiyo, Daibutu-Kuyou, Japanese Traditional Music(幸若舞) Kagekiyo, the character, Kagekiyo was getting enlarged and grown in Japanese classical puppet play Career Kagekiyo, written by Chikamatsu Monzaemon. Japanese Traditional Music Kagekiyo can be called the best dramatic work in the middle era. This paper shows the clue to the background why Kagekiyo starred an essential character in Heike focusing on many articles dealing with the legend Kyongchung.This paper will suggest not whether the legend was a true but what aspects will ne appeared according to the the each period.

‘전기 왜구’와 ‘후기 왜구’ 용어의 모순과 새 용어의 선택

김보한 일본사학회 2013 일본역사연구 Vol.38 No.-

The Korea-Japan academic community have been using terms of ‘the first half period of Wakou’ and ‘the second half period of Wakou.’ These terms, however, are problematic in that they are based on the conventional knowledge existed for about 50 years. Firstly, the term ‘the first half period of Wakou’ had been using to refer to the Wakou of 14th and 15th centuries. It is problematic because the term misses the Wakou of the 13th century. Secondly, the main body of Wakou in the ‘the first half period of Wakou’ was understood as the ‘union of Koryo-Chosun people.’ Yet, the remaining body of Wakou in the ‘the first half period of Wakou’ was the Japanese people (Akutou(惡黨). Thirdly, the Wakou of the 14th century needs to include the Japanese as well as the Chinese merchants. Fourthly, the main body of Wakou in the ‘the second half period of Wakou’ needs to include both the Japanese and Chinese merchants as well as the Western merchants. In this respect, the Wakou in East Asia must be examined by using terms such as the ‘Kamakura period Wakou,’ the ‘Muromachi period Wakou,’ and the ‘Sengoku period Wakou’ in a study of Wakou.

일본 중세의 색채 문화: 가마쿠라,무로마치 시대를 중심으로

이경희 ( Kyung Hee Lee ),김금화 ( Gum Hwa Kim ) 한국패션비즈니스학회 2015 패션 비즈니스 Vol.19 No.1

This study investigated the color culture in the Japanese Medieval Age. The Japanese Medieval Age included the Kamakura period (1180-1333) and Muromachi period (1336-1573), and the leading group transitioned from the Kuge families to the Buke families. The taboos about colors from ancient times became nominal, and forbidden colors, such as purple, celadon, and red, became the colors of the samurai, leading to beautiful soldier gears that were unparalleled in history. In the Kamakura period, colors that conveyed a strong impression were created and preferred with the combination of a samurai`s reasonable spirit and zen thoughts. The period was also called the era of hari, and cross dyeing based on basic colors such as suou (red), ai (blue), and kuchinasi (yellow) was popular. In both the Kamakura and Muromachi periods, conspicuous and strong colors were sought for costumes, and embroidery was used with gold leaf, silver leaf, gold threads, silver threads, and background color. The colors of costume preferred by Buke men in the period included green, blue, and brown. In the characteristics of the kosode, the sugan and hitadare were used for men`s formal dress, while kosode was used for the grooming of the working class. In these periods, additionally, the working class began to be socially engaged in actively wearing the one-layer kosode, which became popular, and the characteristics of the Japanese Medieval Age, during which functionality and practicality was valued, were also reflected in the dressing.

무로마치 시대 座敷 장식의 정치성

이정은(Lee, Jungeun) 한국미술연구소 2015 美術史論壇 Vol.- No.41

The Ashikaga shoguns were avid patrons of the arts, known especially for their collections of Chinese paintings, ceramics and bronzes (karamono), which they often displayed both for their own enjoyment and for the visits of eminent guests to their palaces. The Ashikaga also commissioned detailed illustrated manuscripts that inventoried the collections, described arrangements featured in their palaces, and gave instructions for their proper displays. Information and laudatory descriptions of the shogunal collections and their arrangements can be found in the diaries of courtiers and priests, suggesting the special significance of these formal display for the Ashikaga shoguns. This paper examines the sociopolitical meanings of elaborate, formal, and regulated displays for the Ashikaga focusing on the special significance they held for the sixth Ashikaga shogun, Yoshinori (1394-1441; r. 1429-1441) during the visit of Emperor Go-Hanazono (1419-1471; r. 1428-1464). Through a comprehensive analysis of several primary written and visual sources from the Muromachi period with Muromachi dono gyokō okazariki, this paper explores the role played by Ashikaga shoguns’ formal displays that integrated Buddhist and/or court traditions in the development and consolidation of Ashikaga’s legitimacy/ascendancy in the fifteenth-century Kyoto.

중세 일본의 외교권

高銀美 ( Go Eun-mi ) 성균관대학교 대동문화연구원 2021 大東文化硏究 Vol.113 No.-

가마쿠라시대에는 막부 측이 외교 안건에 대한 실질적인 결정권을 장악하고 있었지만, 형식적인 외교권은 여전히 천황에게 있었다고 평가된다. 그에 반해 무로마치시대에는 막부의 수장인 쇼군이 ‘일본 국왕’에 책봉되는 점을 들어, 가마쿠라시대와는 질적으로 다른 외교관계가 형성된 시대로 평가한다. 그리고 그 배경에는 천황에게 있었던 권한조차 쇼군이 흡수해가는 권력집중과정이 있다고 본다. 그러나 본 논문에서는 무로마치시대의 외교방식이 가마쿠라시대의 방식을 기본적으로 계승하는 것이었으나, 중국의 교류 방식 변화에 대응하는 과정에서 차이점이 발생했다는 점을 지적하였다. 즉 양자 간의 차이는 천황과 쇼군 간의 권력 구조 변화가 아니라 일본을 둘러싼 주변 지역의 상황이 만들어 낸 것이라는 점에 중점을 두었다. 다만 쇼군이 외교사절과 접촉하고 답서를 전달하는 등 외교의 전면에 나서게 되면서 이전처럼 외교 안건을 조정에 보고하는 절차는 더 이상 확인되지 않게 된다. 외교 안건이 막부 관할 내에서 완결되게 되면서 조정은 형식적으로 외교 안건에 대해 심의하는 기능마저 상실하게 되는 것이다. In the Kamakura period, it is assumed the shogunate held the de facto decision-making authority over diplomacy, while formal diplomatic authority ostensibly remained in the hands of the Japanese emperor. On the other hand, in the Muromachi period, there was a qualitative difference in the way in which foreign relations were established in comparison to the Kamakura period, given that the shogun, as the head of the military government, was referred to as the "king of Japan". This change occurred against the backdrop of the centralization of power in which even some powers held by the emperor were absorbed by the shogun. However, this paper contends that, although Japan's diplomatic direction in the Muromachi period fundamentally succeeded that of the Kamakura era, there were differences that arose in the process of responding to changes in China's style of foreign relations. Thus, this paper places emphasis on the fact that the difference between two periods was caused due to circumstances in the region surrounding Japan, rather than changes in the internal power structure of Japan. In the latter era, however, the previous practice of reporting diplomatic issues to the Japanese imperial court was no longer identified, as the shogun came to the front of diplomacy and took on roles such as meeting diplomatic envoys from other countries and conveying official diplomatic responses. This implies that Japan’s diplomatic agenda was completely handled within the jurisdiction of the shogunate, thus leading to the loss of the Japanese imperial court’s nominal function of deliberating on diplomatic issues.

중・근세 동아시아의 인기 무역품, 일본도(日本刀)

윤유숙 한양대학교(ERICA캠퍼스) 일본학국제비교연구소 2022 비교일본학 Vol.55 No.-

This paper examines the fact that Japanesemade swords were distributed as international “trade goods” in recognition of their excellence as weapons in the Early Modern period of East Asia. For about 200 years from the end of the 14th century to the beginning of the 17th century, Japanese swords were transported in large quantities in the form of tribute trade goods by Japanese envoys or trade ships sailing to Joseon and China or by Japanese pirates. During the period from the early 15th to the mid16th century, the total export volume was beyond imagination, as more than 100,000 swords were dedicated by the Muromachi Shogun to the Ming emperor. In the early 17th century, the Edo Shogunate prohibited the export of Japanese armaments by national law and promoted a policy of closure, leaving Japanese sword to disappear from the “authorized” trade items of the East Asian world. Even in this situation, Ming and Qing's interest in Japanese swords did not disappear, and as a result of asking Joseon to dedicate Japanese swords as gifts, it is confirmed that Japanese swords moved from Joseon to China until the first half of the 17th century. Meanwhile, the influence of Japanese swords on traditional weapons systems and manufacturing in Joseon and China was different. Joseon was interested in the introduction of manufacturing technology in Japanese swords from the first half of the year. However, it is difficult to say that Japanese swords had a great influence on the circumference in form and manufacturing Hwando(環刀), considering that the traditional Hwando with little bending was still used even in the late Joseon. On the other hand, in the case of Ming Dynasty, due to its economic advantages and quality excellence, Japanese swords were actually used in the military as a practical weapon. 이 논문은 일본제(日本製) 일본도가 중근세 동아시아 지역에서 무기로써의 우수성을 인정 받아 국제적인 ‘무역품’으로 유통된 실태를 검토한 것이다. 15세기 이후 일본도가 조선과 중 국으로 유입되는 양태와, 조선과 중국의 전통적인 무기에 끼친 영향 등을 살펴보았다. 14세기 말부터 17세기 초까지 약 200년간 일본도는 조선과 중국으로 도항하는 일본의 사 절단이나 무역선에 의해 진공품의 형태로, 혹은 왜구에 의해 대량으로 운반되었다. 15세기 초 에서 16세기 중반에 이르는 기간 동안 무로마치 쇼군이 명 황제에게 바친 부탑품 도검만도 10만점 이상에 달하므로 수출된 총량은 상상을 초월할 정도로 막대했다. 에도 막부가 17세기 초 일본제 무구류의 해외수출을 국법으로 금지하고 쇄국정책을 추진 하면서 일본도는 동아시아 세계의 ‘공인된’ 무역품목에서 모습을 감추게 되었다. 이런 상황에 서도 일본도에 대한 명과 청의 관심은 사라지지 않아서 일본도를 예물로 바치도록 조선에 요 구한 결과 17세기 전반까지 조선에서 중국으로 일본도가 이동한 사례가 확인된다. 한편 일본도가 조선과 중국의 전통적인 무기체계와 제조에 끼친 영향은 제각기 달랐다. 조 선은 전기부터 일본도 제조기술의 도입에 관심을 가졌지만 조선후기에도 여전히 날의 휨이 거의없는전통적인환도가애용된것으로보아, 일본도가형태나제조면에서환도에큰영 향을 끼쳤다고 보기 어렵다. 반면 명의 경우에는 경제적 이점과 질적 우수성으로 인해 일본 도가 실제 군대에서 활용되었고 일본도술이 중시되는 등 실용무기로 사용되었다.