가구산업의 - 신제품 개발 아이디어 평가 모형에 관한 연구

장경희,정우양 ( Kyung Hee Jang,Woo Yang Chung ) 한국목재공학회 1995 한국목재공학회 학술발표논문집 Vol.1995 No.-

조선 15세기 장말손(張末孫) 패도(佩刀) 연구

장경희(Jang, Kyung-hee) 한국조형디자인학회 2018 조형디자인연구 Vol.21 No.2

장말손은 조선 세조 때의 무신이었다. 그가 1466년 함경도 회령에서 일어난 여진족 아지발 등의 침략을 물리치자, 세조는 그에게 보물 제188-2호로 지정된 <장말손 패도>를 하사하였다. 이 유물은 구조적인 면에서 젓가락을 넣을 첨자도(籤子刀)의 일종이다. 도금이나 상아 등 최고급 재료, 용이나 거북 등 상징적 형태, 금은 세공기술을 통해 왕실 공예품의 높은 수준을 엿볼 수 있다. 세종대부터 성종대까지 중국은 조공용이나 선물용으로 조선에 많은 칼을 요구하였다. 당시 조선의 도자장(刀子匠)이 크기가 작고 젓가락 등을 끼운 첨자도를 비롯한 ‘삼사도(三事刀)’ 등 다용도 칼을 대량으로 제작하였다. 따라서 이 유물은 15세기 조선 왕실의 문헌기록을 실물로서 증명하는 것일뿐 아니라, 이 시대의 왕실 금속공예품을 대표한다는 점에서 역사적 학술적 가치가 매우 크다. Jang Mal-sohn was a military official during the era of King Sejo in the Joseon Dynasty. For Jang had defeated the invasion of Joseon by the Jianzhou Jurchen people in Hoeryong, Hamgyong Province in 1466, King Sejo bestowed him a cavalry sword along with other prizes. <The Ornamental Knife of Jang Mal-sohn> resembles a clasp knife(籤子刀) that was designated as national treasure number 188-2. This sword is made of luxurious materials such as gold and ivory, and it shows a strong symbolic representation with the figure of dragon and tortoise. It demonstrates the exceptional level of the imperial handcrafts through the techniques of covering with bamboo sheath and working with gold and silver. Meanwhile, the imperial China usually demanded a variety of small knives as tribe or gift for its envoys between the era of Sejong and Seongjong of Joseon. For this reason, the knife craftsmen of Joseon were to produce small clasp knives that can carry chopsticks. According to the Annals of the Joseon Dynasty, the craftsmen created a large number of multipurpose knives including the set of 3 knives or the set of 5 knives . Thus, this knife contains a historical significance as it represents the imperial metal craft of the Joseon Dynasty in the 15th century.

조선후기 王室祭器 鑄成 鍮器匠연구

장경희(Jang, kyung-hee) 한국조형디자인학회 2008 조형디자인연구 Vol.11 No.2

The Joseon Dynasty, a Confucian state, decided to rule the nation on the principle of courtesy, and the events hosted by the royal family were also conducted according to courtesy (the five courtesy principles). In particular, the sacrificial rites performed by the royal family were a national event to show off the principle of 'loyalty and filial piety'; so, the utensils used in religious services were cast with the nation's full capability. Manufacturing of the utensils used in religious services for the royal family began to be systematized during the rule of King Sejong early in the Joseon Dynasty and the systematization was completed at the time of King Seongjong, who compiled "The National Five Principles of Courtesy." Meanwhile, the utensils used in religious services for the royal family were produced by a temporary government office called "the Competent Authority," which was set up as needed. This thesis aims to analyze an ancient book entitled "the Competent Authority for Ritual Principles" in order to understand the actual state of brass-ware craftsmen mobilized to the temporary government office to cast the utensils used in religious services for the royal family late in the Joseon Dynasty. The following are a summary of the findings. First of all, early in the 17th century, King Gwanghaegun and King Injo established three times a temporary government office called "the Competent Authority for Religious Services utensils" in order to completely prepare the utensils used in religious services for the royal family, which were scattered or destroyed due to the Japanese invasion in 1592. As a result, two kinds of the utensils of such a kind were equipped in 1601 and five kinds in 1605. Moreover, in 1612, about 80 kinds of brass-ware utensils used in religious services were cast, and all the dished needed for the shrine for the founder of the nation, guardian deities of the nation, royal tombs, and shrines for ghosts were entirely equipped. Next, the utensils used in religious services for the royal family were newly produced when the king died and repaired when they were broken or crushed. For example, the utensils used in religious services at the ancestral shrine of the royal family or the guardian deities of the nation would be frequently examined and mended if needed since they were used for each national sacrificial rite (called "an auspicious rite"). When the king or the queen died (there was performed "an evil rite"), a temporary government office called "the Competent Authority for Shrines for Ghosts" was erected and the utensils were newly manufactured so that they might be used for the sacrificial rites performed before the king tombs[mountain tombs] or within the shrines for ghosts. In this regard, a chronological summary of manufacturing processes of the utensils used in religious services for the royal family produced between the 17th century and the 19th century is listed below. First, in the 17th century, a dish used in religious services for the royal family was manufactured by 6-8 brass-ware craftsman deployed to a temporary government office called "the Competent Authority for Shrines for Ghosts(殯殿魂殿都監)." Copper, a material of the utensils, was imported from Japan, and a team of eight brass-ware craftsman manufactured the dish against a drawing created by a painter. Most of the artisans (capital craftsmen, 京工匠) lived in Seoul and their skill was so good that they were continuously mobilized for 10 years.

전통공예의 전통지식 DB 구축의 성과와 과제

장경희(Jang Kyung-hee) 한국콘텐츠학회 2022 한국콘텐츠학회 종합학술대회 논문집 Vol.2022 No.7

고종황제의 금곡 홍릉 연구

장경희 ( Kyung Hee Jang ) 고려대학교 역사연구소 2007 사총 Vol.64 No.-

純宗妃 純明孝皇后의 생애와 裕陵 연구

장경희(Jang Kyung-Hee) 한국인물사연구소 2009 한국인물사연구 Vol.12 No.-

純明孝皇后 민씨는 11세 되던 1882년 明成皇后에 의해 세자빈으로 책봉되어 1904년 10월 33세의 짧은 생을 마감하였다. 그녀가 1894년부터 1904년까지 10년간 세자(뒤의 순종)의 사부였던 韋觀 金商悳에게 보낸 편지 10통을 통해 그녀가 시세의 흐름에 민감하고, 정사에 대한 식견이 명확하였음을 알 수 있었다. 그녀는 궁궐에 들어온 이후 명성황후에 의존해 살았으나 황후의 사후에는 마땅히 의지할 상대가 없어 평소 세자의 사부로 왕래가 잦았던 위관을 대상으로 삼았던 것 같다. 주고받은 편지가 주로 기울어져 가는 왕조를 걱정한 나머지 위관이 출사하여 고종황제를 돕도록 부탁한 것이지만 편지의 애절한 문투와 행간에는 그에 대한 정감도 서려있었다. 이처럼 그녀는 그동안 우리가 알고 있던 것처럼 병약하고 명성황후의 그늘에 숨어 있던 가녀린 왕실의 여인이 아니라, 세상 사정과 조정의 인사 문제까지 소상히 파악하고 있었고, 외세의 침탈로 국가의 위기가 눈앞에 다가 온 대한제국의 황태자비로서의 당당한 위상을 지니고 있었음을 엿볼 수 있었다. 1904년, 순명황태자비가 죽어 조성한 裕康園은 대한제국의 유일한 황태자비 墓制이다. 이 유강원을 고종황제는 자신이 壽陵으로 정한 금곡의 홍릉이 완공된 뒤에는 황제릉으로 조성할 의도를 갖고 착수한 듯하다. 그것은 유강원을 조성할 때 황릉에만 세우는 침전을 비롯하여 당가 등과 같은 각종 의장·의물들이 1897년에 조성한 명성황후의 청량리 洪陵을 전례로 삼고 있었기 때문이다. 그러나 고종황제가 금곡 홍릉에 황제릉을 조성하다가 완성하지 못한 것처럼 유강원도 마찬가지였다. 고종황제는 1900년부터 금곡 홍릉에 寢殿을 비롯한 각종 전각이나 능상 석물은 세워 두었으며, 침전 앞 석물도 이미 1899년에 제작을 끝내고 명성황후의 청량리 홍릉을 천장한 후 설치하려다가 못하고 자신이 죽어서야 완성되었듯이 고종황제가 1904년에 조성한 유강원의 침전을 비롯한 모든 건물과 석물도 1926년 순종효황제의 사후 금곡 유릉으로 옮겨졌다. 현재 유릉에 세워져 있는 침전·비각·재실 등의 건물과 침전 내부에 설치한 唐家를 비롯한 의장·의물, 그리고 능상에 설치된 엄전석·혼유석·망주석 등의 석물들은 모두 이때에 옮겨 놓은 것이다. 이러한 의물들은 순명황태자비를 더없이 아꼈던 고종황제가 정성껏 제작하였기 때문에, 금곡의 유릉에 옮겨다 사용해도 손색이 없었음을 볼 수 있다. 그러나 고종황제가 금곡 홍릉에 조영한 황제릉의 형식은 침전 앞에 석인과 석수가 일렬로 쭉 늘어서는 형식이었으나 이것을 생전에 결국 세우지 못한 아쉬움이 남듯이, 금곡 유릉의 침전 앞에 세워진 석물들도 결국 1927년 일본인의 손에 의해 식민지 양식으로 조성된 것은 더욱 가슴 아픈 일이 아닐 수 없다. 그러나 고종황제에 의해 시도되었던 대한제국의 황제릉 양식은 금곡 홍릉에서는 실현되었고, 순명황후와 순종황제의 금곡 유릉에서는 절반의 성공만을 거둔 셈이 되고 말았다. Empress Sunmyeong[純明孝皇后] of the Yeoheung Min clan was invested by Empress Myeongseong[明成皇后] as the Crown Princess at the age of 11 in 1882, and died young at the age of 33 in December 1904. 10 letters sent to Kim Sang-deok[金商悳], the teacher of the then Crown Prince Sunjong[純宗], for 10 years from 1894 to 1904 obviously indicate that she had a considerable insight into history and a correct understanding of the Royal situation. Since she had entered the palace, she had Empress Myeongseong to turn to. After the Empress died, she kept up correspondence with Kim Sang-deok, and even recommended him to enter government service to assist Emperor Gojong[高宗]. She was not a feeble Royal lady who would hide herself under the protection of Empress Myeongseong, and she knew well about the ways of the world and fully understood the personnel-related matters in the Royal court. She maintained a dignified profile as a Crown Princess of Korea at the time when the national prestige was on the decline due to its relations with neighboring countries. Yugangweon[裕康園], the unique tomb of Crown Princess in Korea, was built in 1904 after her death. In those days, Emperor Gojong seemed to intend to raise the status of Yugangweon to the tomb of Emperor at the time when the construction of Hongneung[洪陵], the tomb for himself and Empress Myeongseong, would be completed in Geumgok[金谷]. His intention was evident in buildings, decorative structures and stone sculptures which were modelled on those of Hongneung, the tomb of Empress Myeongseong, that had been built in Cheongnyangni in 1897. Yugangweon, however, had no chance of becoming the tomb of Emperor, as Emperor Gojong failed to finish Hongneung, the tomb of Emperor in Geumgok, during his lifetime, despite that its stone figures had been ready to be placed in front of the tomb chamber in 1899, and its buildings and stone structures had been built on the tomb in 1900. Emperor Gojong missed to complete the tomb of Emperor by waiting for a timely relocation of the tomb of Empress Myeongseong. The decorative structures and stone figures of Yugangweon were comparable to those for a tomb of Emperor, and were later relocated to Yureung[裕陵] that was posthumously built for Emperor Sungjong in Geumgok. Although it was not finished, Hongneung, the tomb of Emperor in Geumgok, was designed to place the stone statues of human and animal figures lined up in front of the tomb chamber. Those of Yureung in Geumgok also followed the same layout, but were forcedly produced in Japanese colonial pattern after Emperor Sunjong died in 1927. The layout pattern what Emperor Gojong intended for the tomb of Emperor was only accomplished in Hongneung, the tomb of Emperor Gojong and Empress Myeongseong, and counted half a success in Yureung, the tomb of Emperor Sunjong and Empress Sunmyeong.

조선후기 王室祭器 鑄成 鍮器匠 연구

장경희(Jang, kyung-hee) 한국조형디자인학회 2006 조형디자인연구 Vol.9 No.2

The Joseon Dynasty, a Confucian state, decided to rule the nation on the principle of courtesy, and the events hosted by the royal family were also conducted according to courtesy (the five courtesy principles). In particular, the sacrificial rites performed by the royal family were a national event to show off the principle of 'loyalty and filial piety'; so, the utensils used in religious services were cast with the nation's full capability. Manufacturing of the utensils used in religious services for the royal family began to be systematized during the rule of King Sejong early in the Joseon Dynasty and the systematization was completed at the time of King Seongjong, who compiled "The National Five Principles of Courtesy." Meanwhile, the utensils used in religious services for the royal family were produced by a temporary government office called "the Competent Authority," which was set up as needed. This thesis aims to analyze an ancient book entitled "the Competent Authority for Ritual Principles" in order to understand the actual state of brass-ware craftsmen mobilized to the temporary government office to cast the utensils used in religious services for the royal family late in the Joseon Dynasty. The following are a summary of the findings. First of all, early in the 17th century, King Gwanghaegun and King Injo established three times a temporary government office called "the Competent Authority for Religious Services utensils" in order to completely prepare the utensils used in religious services for the royal family, which were scattered or destroyed due to the Japanese invasion in 1592. As a result, two kinds of the utensils of such a kind were equipped in 1601 and five kinds in 1605. Moreover, in 1612, about 80 kinds of brass-ware utensils used in religious services were cast, and all the dished needed for the shrine for the founder of the nation, guardian deities of the nation, royal tombs, and shrines for ghosts were entirely equipped. Next, the utensils used in religious services for the royal family were newly produced when the king died and repaired when they were broken or crushed. For example, the utensils used in religious services at the ancestral shrine of the royal family or the guardian deities of the nation would be frequently examined and mended if needed since they were used for each national sacrificial rite (called "an auspicious rite"). When the king or the queen died (there was performed "an evil rite"), a temporary government office called "the Competent Authority for Shrines for Ghosts" was erected and the utensils were newly manufactured so that they might be used for the sacrificial rites performed before the king tombs[mountain tombs] or within the shrines for ghosts. In this regard, a chronological summary of manufacturing processes of the utensils used in religious services for the royal family produced between the 17th century and the 19th century is listed below. First, in the 17th century, a dish used in religious services for the royal family was manufactured by 6-8 brass-ware craftsman deployed to a temporary government office called "the Competent Authority for Shrines for Ghosts(殯殿魂殿都監)." Copper, a material of the utensils, was imported from Japan, and a team of eight brass-ware craftsman manufactured the dish against a drawing created by a painter. Most of the artisans (capital craftsmen, 京工匠) lived in Seoul and their skill was so good that they were continuously mobilized for 10 years. Second, in the 18th century, like in the 17th century, the utensils used in religious services for the royal family were manufactured in a temporary government office "the Competent Authority for Shrines for Ghosts" by about four brass-ware craftsman (government artisans, 官工匠) who belonged to a permanent government office.

대한제국 홍릉 침전 내부의 공예품 연구

장경희(Jang, Kyung-hee) 한국조형디자인학회 2010 조형디자인연구 Vol.13 No.2

홍릉은 고종황제가 대한제국의 황제릉으로 조성한 고종황제와 명성황후의 무덤이다. 대한제국의 홍릉은 조선시대의 왕릉과는 여러 모로 다르다. 특히 의식을 거행하는 침전은 일(一)자 형태로 세워, 조선시대에 정(丁)자 형태로 세운 정자각과 달라졌다. 또 건물 내부에는 궁궐과 마찬가지로 화려한 단청으로 꾸민 당가(唐家)를 세웠다. 그러나 세워진지 100년이 지난 현재, 홍릉의 침전과 내부 시설은 원래의 모습을 알 수 없을 정도로 훼손되어 있는상태이다. 따라서 본 논문은 대한제국 유일의 황제릉인 홍릉을 원형대로 복원하려는 목적이 있다. 이를 위해 제작 당시 시말을 기록한『 홍릉산릉도감의궤』를 비롯한 각종 관․사찬 기록과 현존하는 유물을 꼼꼼하게 살폈으며, 그 결과 알게 된 사실은 다음과 같다. 첫째, 건물 내부는 신성한 의식 공간으로 조성해야 한다. 즉 내부 벽은 3겹으로 도배를 하고, 바닥에는 2중으로 왕골 돗자리를 깔며, 문에는 대나무 발[朱簾]을 걸어야 한다. 둘째,당가는 통치자의 존엄성을 드러내는 의물이다. 즉 다섯 개의 산봉우리를 그린 장지문을 세벽에 둘러 세우고, 용무늬를 조각한 신어평상과 용무늬를 조각한 삽병을 배치하되 자리와욕석을 2중으로 깔아야 한다. 그런 다음, 당가 앞면에는 휘장을 둘러야 한다. 이처럼 건물내부의 원형이 원래대로 복원된다면, 홍릉은 황제릉으로서 그 면모가 일신될 것이다. 이를통하여 비록 20여년의 짧은 시간밖에 존속하지 못했던 대한제국의 영광이 되살아나길 기대한다. Royal Tombs called Hongreung[洪陵] are the graves of Emperor Gojong and Empress Myeongseong. The tombs reflect the intent of Emperor Gojong and are different in many ways from other royal tombs constructed during the Joseon Dynasty. In particular, the “一”-shaped building[寢殿] in front of the tombs, where a secrificial rites were performed, is different from others of such a“ T”-shaped building[丁字閣] in the Joseon Dynasty. Moreover, in the building as in a royal palace, there is a canopy[唐家] which is decorated with splendid traditional multicolored paintworks. However, today 100 years after its construction, the ritual building and the facilities in it are so terribly damaged that their original form cannot be identified. In this regard, this thesis aims to help restore Hongreung, which are the only imperial tombs built during the Greater Korean Empire. To do that, comparison was carefully made between the relevant records written at the time of the construction and the extant remains and the following are the findings. First, the interior of the building was intended to be used as a sacred place for ceremonies. In other words, the interior walls were triple papered, a double bulrush mat was laid on the floor, and a beaded bamboo screen was hung over the door. Second, the canopy was purposed to demonstrate the dignity of the ruler. That is, a paper sliding door patterned with five mountaintops stood by the three walls and a chair patterned with dragon-shaped carvings and a folding screen patterned with dragon-shaped carvings were arranged before the door. Then, a curtain was placed between the pillars. If such a prototype of the interior of the building is restored, Royal Tombs called Hongreung will be renewed as an imperial tomb. It is the present author's wish that the glory of the Greater Korean Empire, which was terminated in a short period of time and Emperor Gojong had dreamed of, could be also restored.

隋唐代聯珠環文錦의 東西交涉

장경희(Jang, Kyung-Hee) 한국조형디자인학회 2007 조형디자인연구 Vol.10 No.2

Pearl Studded Circlet(Yeonjuhwanmun, 聯珠環文) is a pattern, where several pictures are located in - and outside of pearl - like beads linked together to form a round ring shape. Pearl Studded Circlet Brocade(聯珠環文錦) is an important topic for the history of textile dyeing, or of pattern, or of East-West cultural exchanges. It was widely popular in many regions along the Silk Road during Sui and Tang dynasties. Its relics can be found in widespread areas. We have discovered that there is an internal development in the textile-dyeing technique or in the change of patterns. In order to clarify this, we sought to identify the name and the origin of the pattern, to find out the principle of the pattern construction, to analyze the motive pictures, and to understand the meaning of the exchanges of Eastern and Western cultures, by sorting out all the research outcomes of the scholars specializing in this pattern. Through our studies, we established the following findings. Firstly, this pattern used to be called as linked pearls pattern(連珠文, 聯珠文, 團窠文, etc). All these names were made in accordance with the visual and form-based traits of round beads connected together. With the exterior characteristic, the in - and outside of the ring pattern would be efficient only if straight weaving patterns are repeated. Therefore, we have decided to conclusively name this as pearl studded circlet(聯珠環文). Secondly, pearl studded circlet is said to have been originated from China or introduced from the West. There are cultural prejudices inherent in these two theories. The "China origination" theory assumes China as the center of the world cultures, whereas the "West origination" theory assumes that the Silk Road civilization started in Central Asia, making a transit via Northeast Asia, blossoming in Japan. These two theories were separately developed in the Eastern and Western countries, and became widespread in the whole region of the Silk Road during Sui and Tang dynasties, when the East-West exchanges were active. Thirdly, Yeonjuhwanmun had a symmetric, as opposed to assymmetric structure. The symmetric form considers the front sight more important and is based on the Chinese tradition that focuses on stability. The assymmetric form reflects the western tendency, which emphasizes the side sight and picturesque expression. Yeonjuhwanmun displays both of the symmetric Chinese style and assymmetric Western style. It is classified in 5 pattern styles. As for motives of the pattern style, the traditional elements of China and exotic elements from Persia, were given the equal importance. In particular, the religious sculptures, such as gods in Zoroastrianism, birds biting a string, deers with camel-backs as in 'Birds and beasts pattern(禽獸文)' or 'hunting pattern(狩獵文)', were the results of East-West exchanges. Fourthly, there were direct and indirect roles of Sogdians in the development of Yeonjuhwanmun during Sui and Tang dynasties. They lived in Central Asia and were engaged in intermediary trading in the eastern and western regions of the Silk Road. In their earlier trading, they imported Persian silk to China, but with time, they became the chief supervisors of a government office(小府監), making a headway for new styles, such as “Neungyanggong style(陵陽公樣)” or “exotic brocade(番錦)”.

조선후기 山陵都監의 匠人 연구

장경희(Jang, Kyung-hee) 한국역사민속학회 2007 역사민속학 Vol.- No.25