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고부자(Ko boo ja) 국립국악원 2002 국악원논문집 Vol.14 No.-
In the court of the Joseon period, a number of banquets often took place and dance, song, and music were performed together, and each time the uigwe, which contained pictures of these events, was produced. Akhakkwebeom is consisted of 3 books of 9 volumes and whereas other uigwe mainly depict the scenes of various events, Akhakkwebeom deals with music in general and also discusses the measurement, color, user, function, and material of the costumes. Information on the costumes is offered briefly in volumes 3, 4, and 5, and in volume 2 the props used by the singers and dancers are illustrated. Volumes 8 and 9 contain detail explanation, and especially in volume 9, thirty pictures and illustrations are included. Thus, this paper focused on volumes 2, 8, and 9 and also discussed volumes 3, 4, and 5 as well. Moreover, the pobaek ruler was used for measurement. Those who wear costumes are the musicians, the female entertainers, and the dancers such as the akkwan, aksa, akkong, yeogi, yeonsogi, yeonjanggi, dongnyeo, mudong, cheonghak, and obangcheoyong. The differences of the costumes are based on the use of different types of music such as aak, sogak, oryeui, and the dangak and hyangak of the King Seongjong period. This paper examined the constitution of the Akhakkwebeom, various costumes according to different types of music, costumes that appear in the pictures, and the division of the costumes by style. The Akhakkwebeom should be highly regarded in that it discusses the name, measurement, color, user, function, and the material of the performers costumes. In particular, the costumes are crucial resources since they are part of comprehensive arts that include musical instruments, songs, and dances. However, in places the style and the name of the same costume appears differently. For instance, the middle of a shoe is called either hwa or hye; the same costume of a government official is referred to as ui or sam depending on the material, color, and the situation of dressing. These inconsistencies remain to be studied.
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高富子 동국대학교 신라문화연구소 2007 신라문화제학술발표논문집 Vol.28 No.-
신라인의 복식에 대한 연구는 쉽지 않다. 특히 1차 자료인 피륙[織物]유물이 없고 史料도 귀하기 때문이다. 그러나 단편적이지만 史料는 中國 史書와 신라의 『三國史記』나 『三國遺事』 등을 참조하고, 視覺자료와 유물로는 고구려의 古墳壁畵와 무덤에서 출토된 金屬製類인 冠이나 허리띠ㆍ신ㆍ목걸이ㆍ귀걸이ㆍ반지류, 土偶나 土俑, 騎馬像, 斷石山 神仙寺의 岩壁에 새겨있는 供養人物像, 國立慶州博物館에 있는 異次頓의 殉敎碑 등으로 보충한다. 본 연구는 이러한 자료를 바탕으로 三國[上古]시대 전반적인 衣生活 槪要 및 삼국통일 전까지의 古新羅期(B.C. 57~A.D. 669년)와 統一新羅期(669~935년)로 나누어 정리하였다. 삼국복식은 남녀공통인 襦ㆍ袴에 여성은 裳을 더한 것이 기본이며, 거기에 表衣로 袍를 덧입었다. 裙ㆍ襦ㆍ袍에는 ?이 있으며, 上衣의 여밈은 帶로 앞과 뒤로 묶었다. 頭飾은 남성의 상투를 틀었고, 冠帽는 幘 折風 弁笠 등이 기본이며 여자의 머리에 대한 자료는 대부분 얹거나 내린 것으로 나타나고 있다. 신은 靴ㆍ鞋ㆍ履를 신었다. 古新羅는 삼국병행기로 襦ㆍ袴와 袍ㆍ裳制가 기본인 固有服飾期이다. 이에 옷차림이나 특히 남성의 冠帽類 및 佩飾, 기타 자료를 통하여 趙 武靈王 이후 胡服이라고 하는 北方騎馬遊牧民의 스키타이계 양식들과 상통하고 있다. 통일신라시대는 法興王 10년(523)에 唐制를 모방한 四色公服을, 眞德王 3년(649)에는 일부 唐制官服을 受用하였다. 이후 土俑이나 834년 興德王代의 服飾禁制 등에서도 唐制의 흔적이 나타나고 있으며, 國俗과 병행하는 二重構造현상이 계속된다. The research of costume of Shilla period(B.C. 57~A.D. 935) was not easy. Especially, the research material of textile was not existed and historical records for that material were rare. Yet, historical record references were used from 『Sam-gooksagi』 and 『Sam-gookyusa』, that is written documents of Shilla period, or used from another documents by Chinese. Visual materials were used from mural paintings in a tumulus of Goguryeo. The archaeological relic was excavated from tombs; for example, metal goods(such as gold crown, belt, shoes, necklace, earring, ring, etc), clay dolls and colourful tomb figures(like Dangsamchae, ceramic jar that mixed three different colors which is green, yellow, white or navy, or terracotta warriors and horses in the tomb of the first emperor of Qin dynasty). Besides, there are sculptures of saddle horse, sculptures of Buddhist carved at rock wall at the Sinseonsa(a Buddhist temple of Gyeongju), martyrize monument of Lee Cha Don, who was the first Buddhism a martyr, at Gyeongju National Museum etc. These materials were used as research supplements. This research was divided into three periods: general outline of costume at Three Kingdoms(Goguryeo, Bakjae, and Shilla), the costume of age-old Shilla period, before the unification of three nations(B.C. 57~A.D. 669) and the costume of Unified Shilla period(A.D. 669~935) Three Kingdoms' costumes were including; jacket and pants(Yugo: Jeogori and Pagi. common costume for men and women), skirt(Sang: Chima. for women) and robe (Po. mostly for women). On the jacket, skirt and robe, there was wider fabric attach, called Seon. For an upper garment there was Dai(waist band) to tie up front and back. Some kind of hair shape and hat is men's topknot(Sangt'u) on the top of the head. The hat is fundamental of Chak, Jerlpung, Byeon and Lip(a large brim hat). The research material of women's hair is rare, but most women put their hair up on the head or down. For the shoes, people were used to wear Wha(like long boot made by leather), Hea(like shoes made by leather), and Li(similar as Hea but this one made by straw and metallicity). The costume of age-old Shilla period belong to the period wearing indigenous style's costume: wearing Yugo or Sang yet. The style of the hat and baldric of this period is very similar to the costume of Scythian style. United Shilla period, they were accepted and used the imitation of four color official costume system of Dang dynasty of China during the reign of King Beopheung(A.D. 523), and the costume style of Dang dynasty during the reign of King Jindeok(A.D. 649). After this Korean traditional costume formed both the indigenous style and the chinese style.
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高富子(KOH BOOZA) 한국민속학회 1976 韓國民俗學 Vol.9 No.1
Folk custom concerning after-child-birth in Cheju Island, which had been continued until the modern medical cares by the gynaecologists took over the role, is discussed. This paper is based on the survey of aged native prolific women who have had few communication with the outside of the Island, neither have practised, namely, the new religions such as Catholic or Protestant. We interviewed a total of 63 people including 27 men and 36 women for a preliminary study, while 261 questionnaires were given to the pro olific women to obtain the information concerning the custom of the child-birth in the Island. Folk custom of the child-birth is classified by three areas: the custom for before-child-birth, after-child-birth, and upbringing of child. In this paper, we will discuss the custom which was observed within a few days after child-birth. This includes the custom in the Island such as baby delivery by a mid-wife, notification of birth, foods for mother, taboo, judgement of good or ill luck by time and date of birth, and others.
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고부자(Koh Bou-Ja),김지욱(토론자) 비교민속학회 2005 비교민속학 Vol.0 No.29
This research is about symbolism of costume based on Rite of Passage from birth to death. The content is about collected materials and data from the late 1700's to mid 1950's accumulated throughout the country survey from 1970's to present, 2004. 'Rite of Passage' means the big etiquette (or rite) of a person's life from birth to death, and 'Costume for the rite of passage' means the costume worn by a person. Here, every occasion or situation holds expressive purpose of pleasure and sorrow, moreover each holds distinctive characteristics. The birth of a baby and it's rite were not prominently noticeable because of Confucianism's 'worship of ancestry', however, fulfilled as the most valuable weapon of desire as 'preservation of the race and prosperity of the family'. Accordingly, from the garment of pregnancy, delivery of a baby, hundred days feast to first birthday, the expectation and symbolism were apparent and huge. Right after the birth of a baby, 'Podaegi(blanket)' was used to hold a baby for two nights, then on the morning of third day, a baby wore a clothes made with used top of men of longevity, wealth and honor, as the first garment. It was worn for 21 days, though, generally worn until the hundred days feast. The first garment was treasured as a lucky charm to be considered as "good fortune to carry with for exam, war, trial or gamble". For the hundred days feast, 'hundred lines quilted garment' made of white fabric symbolizing longevity, was worn. Women's clothes was not used for the this garment because it was considered as taboo, weak spirited, and preventing success. Since the wedding ceremony was the most celebrated occasion of lifetime, both groom and bride were treated as the nobility wearing government official's outfits and ceremonial costume. For the death, two prominently different form of outfits show clothing style of the living and death. The death wore shroud made of the best quality fabric as for wedding. The living considered as offender wore funeral garment made of the roughest hemp cloth. Especially, the funeral garment was divided in five grades, relation wise closest to the death wore the roughest. When a father passed away, expressed as 'The heaven collapsed", the roughest fabric and stitches were used. Based on folklore research, a widening gap between the rich and poor or all social standings did not exist for rite of passage and costume. Thus, had wishing desire for splendor of wealth and honor, longevity in common. To achieve these, constructive conduct was held as incantation and predominance of men over women phenomenon. From now on, based on these research. relics and literary document will be supplemented and analyzed as an assignment.
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