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    근세 한ㆍ일 여자복식에 나타난 장생문양 비교 연구 = Comparative Study on the Jangsaeng Pattern of Modern Korean&Japanese Women's Costumes

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    https://www.riss.kr/link?id=T13987960

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    영어
    한국어
    Since ancient society, each ethnic group throughout the world has been including
    its own unique culture and characteristics in its traditional patterns. In the case of
    countries of the East such as Korea and Japan, jangsaeng (longevity) pattern in
    particular has been frequently used. The jangsaeng pattern appeared based on the
    common desire to maintain one’s health & youth and live long.
    As countries of the same Chinese character cultural region as China, Korea and
    Japan embraced the Taoist ideology from the influence of China. In the case of
    Korea, the Taoist ideology came from China during the era of the Three States.
    The jangsaeng ideology intensified due to the war and hardships of life during the
    Goryeo Dynasty era and the jangsaeng patter was commonly used during the
    Joseon Dynasty era. In the case of Japan, the Taoist ideology of the Tang Dynasty
    and the Buddhist culture of Baekje that were embraced during the Nara era
    influenced its clothes. In addition, the jangsaeng pattern evolved upon being
    combined with its own folk & nature beliefs.
    This study aimed to comparatively examine the jangsaeng pattern shown in
    women’s costumes during the same eras of the Joseon Dynasty and the Edo
    periods focusing on women’s costumes that frequently use patterns. Accordingly,
    this study reviewed the respective backgrounds of time of both countries and their
    women’s costumes. In addition, it comparatively analyzed their respective
    backgrounds of the origin of jangsaeng pattern, as well as the shapes, colors,
    compositions and expression techniques shown in women’s costumes.
    The findings of the jangsaeng pattern of modern Korean & Japanese women’s
    costumes are as follow.
    First, the shapes were divided into realistic, schematized and simplified shapes.
    During the Joseon Dynasty period, realistic and schematized shapes mainly
    appeared in stylistic compositions and similar patterns were used for formal
    costumes. While the Kouge formal costumes during the Edo era appeared in the
    standardized and schematized shapes, the pattern of Buke formal costumes
    appeared in very realistic shapes that were also freely used in various ways
    without any set style.
    Second, in regards to the colors, five cardinal colors and compound colors
    frequently appeared respectively during the Joseon Dynasty and Edo periods.
    During the Joseon Dynasty period, primary colors centering on five-element colors, which are namely white, black, yellow, red and blue based on Yin-Yang and the
    Five Elements theory, were frequently used along with gold leaf and golden
    brocade for elegant and beautiful appearances. During the Edo period, various
    tones of colors such as primary & secondary colors were used for varied and
    splendid appearances.
    Third, the jangsaeng pattern was applied throughout costumes & accessories or
    partially during the Joseon Dynasty era, whereas it mostly appeared throughout
    costumes during the Edo period. While the composition of regular and consistent
    arrangement or symmetry frequently appeared during the Joseon Dynasty era, the
    asymmetric composition frequently appeared during the Edo period. It is thought
    that its reason was because of the restriction of costumes according to the
    costumes system during the Joseon Dynasty era, while costumes during the Edo
    period were freely expressed and adorned like a piece of painting.
    Fourth, various techniques were used for adornment during the Edo period than
    the Joseon Dynasty era. During the Joseon Dynasty era, the jangsaeng pattern was
    mostly adorned through embroidery or gold leaf. After embroidering the entire
    pattern or in different colors by dividing it into various parts, each edge was
    sparsely embroidered in gold thread. During the Edo period, on the other hand,
    various techniques were used for adornment such as dyeing or embroidering based
    on weaving or applying gold leaf. It is thought that this study that comparatively
    examined the jangsaeng pattern of the same periods of Joseon Dynasty and Edo
    eras will be helpful in understanding the pattern change according to the
    respective cultures and social background of Korea and Japan. It is also thought
    that this study will be helpful for design by not only understanding the originality
    of respective patterns of the two countries but also developing traditional patterns
    based on the jangsaeng patterns preferred by the two countries.
    번역하기

    Since ancient society, each ethnic group throughout the world has been including its own unique culture and characteristics in its traditional patterns. In the case of countries of the East such as Korea and Japan, jangsaeng (longevity) pattern in ...

    Since ancient society, each ethnic group throughout the world has been including
    its own unique culture and characteristics in its traditional patterns. In the case of
    countries of the East such as Korea and Japan, jangsaeng (longevity) pattern in
    particular has been frequently used. The jangsaeng pattern appeared based on the
    common desire to maintain one’s health & youth and live long.
    As countries of the same Chinese character cultural region as China, Korea and
    Japan embraced the Taoist ideology from the influence of China. In the case of
    Korea, the Taoist ideology came from China during the era of the Three States.
    The jangsaeng ideology intensified due to the war and hardships of life during the
    Goryeo Dynasty era and the jangsaeng patter was commonly used during the
    Joseon Dynasty era. In the case of Japan, the Taoist ideology of the Tang Dynasty
    and the Buddhist culture of Baekje that were embraced during the Nara era
    influenced its clothes. In addition, the jangsaeng pattern evolved upon being
    combined with its own folk & nature beliefs.
    This study aimed to comparatively examine the jangsaeng pattern shown in
    women’s costumes during the same eras of the Joseon Dynasty and the Edo
    periods focusing on women’s costumes that frequently use patterns. Accordingly,
    this study reviewed the respective backgrounds of time of both countries and their
    women’s costumes. In addition, it comparatively analyzed their respective
    backgrounds of the origin of jangsaeng pattern, as well as the shapes, colors,
    compositions and expression techniques shown in women’s costumes.
    The findings of the jangsaeng pattern of modern Korean & Japanese women’s
    costumes are as follow.
    First, the shapes were divided into realistic, schematized and simplified shapes.
    During the Joseon Dynasty period, realistic and schematized shapes mainly
    appeared in stylistic compositions and similar patterns were used for formal
    costumes. While the Kouge formal costumes during the Edo era appeared in the
    standardized and schematized shapes, the pattern of Buke formal costumes
    appeared in very realistic shapes that were also freely used in various ways
    without any set style.
    Second, in regards to the colors, five cardinal colors and compound colors
    frequently appeared respectively during the Joseon Dynasty and Edo periods.
    During the Joseon Dynasty period, primary colors centering on five-element colors, which are namely white, black, yellow, red and blue based on Yin-Yang and the
    Five Elements theory, were frequently used along with gold leaf and golden
    brocade for elegant and beautiful appearances. During the Edo period, various
    tones of colors such as primary & secondary colors were used for varied and
    splendid appearances.
    Third, the jangsaeng pattern was applied throughout costumes & accessories or
    partially during the Joseon Dynasty era, whereas it mostly appeared throughout
    costumes during the Edo period. While the composition of regular and consistent
    arrangement or symmetry frequently appeared during the Joseon Dynasty era, the
    asymmetric composition frequently appeared during the Edo period. It is thought
    that its reason was because of the restriction of costumes according to the
    costumes system during the Joseon Dynasty era, while costumes during the Edo
    period were freely expressed and adorned like a piece of painting.
    Fourth, various techniques were used for adornment during the Edo period than
    the Joseon Dynasty era. During the Joseon Dynasty era, the jangsaeng pattern was
    mostly adorned through embroidery or gold leaf. After embroidering the entire
    pattern or in different colors by dividing it into various parts, each edge was
    sparsely embroidered in gold thread. During the Edo period, on the other hand,
    various techniques were used for adornment such as dyeing or embroidering based
    on weaving or applying gold leaf. It is thought that this study that comparatively
    examined the jangsaeng pattern of the same periods of Joseon Dynasty and Edo
    eras will be helpful in understanding the pattern change according to the
    respective cultures and social background of Korea and Japan. It is also thought
    that this study will be helpful for design by not only understanding the originality
    of respective patterns of the two countries but also developing traditional patterns
    based on the jangsaeng patterns preferred by the two countries.

    더보기

    국문 초록 (Abstract) kakao i 다국어 번역

    한국어
    영어
    고대사회부터 각 민족들은 저마다 고유의 독자적인 문화와 특징을 담은 다양한 문양을 의복, 장신구, 기물(器物), 도자기, 공예품 등에 장식하였는데, 그 중에서도 길상(吉祥)을 뜻하는 상징물이나 부귀ㆍ행복ㆍ장수 등을 의미하는 문양을 새겨 넣었다. 길상문양 중에 건강하게 젊음을 유지하면서 오래 살고자 하는 염원에서 나타난 장생문양은 유래된 도교사상의 신선설과 관련이 깊었다. 한국과 일본은 지리적 인접성으로 인해 같은 한자 문화권인 중국의 영향을 받아 신선사상을 받아들였다.
    한국의 장생문양은 삼국시대에 받아들인 신선사상이 바탕이 되어 장생사상과 길흉화복에 대한 관념이 심화되었던 고려시대를 거치면서 조선시대(1392~1897)에 들어 보편적으로 사용하게 되었다. 조선시대는 근세사회로서 사농공상(士農工商)이라는 엄격한 신분제도를 가진 시기였다. 신분적 한계와 더불어 왜구의 침략과 간섭으로 백성들의 생활은 궁핍해져만 갔는데, 백성들은 이를 극복하기 위해 현세의 행복과 건강, 장수의 염원을 담은 장생문양을 의복과 장신구 등에 새겼다. 의복 중 장생문양이 나타난 예복은 노의(露衣), 원삼(圓衫), 활옷[闊衣], 당의(唐衣)가 있으며 장신구인 노리개, 주머니가 있다.
    일본의 장생문양은 나라시대(710~784)에 신선사상과 함께 백제의 불교문화가 들어와 자연 만물에 신이 있다고 믿어왔던 고유의 민속신앙, 자연신앙과 융합되어 발달하게 되었다. 에도시대(1603~1868)도 조선시대와 같이 엄격한 신분제도를 가진 시기였으나 일본의 장생문양은 전란이 없는 태평성대의 사회적 분위기로 인한 서민문화의 발달과 과시적인 풍조로 인해 상징적인 요소와 함께 의복을 장식하는 요소로 사용되었다. 장생문양은 의복, 도자기, 생활용품 등에 장식되었는데 의복에는 예복인 쥬니히토에[十二?], 우치카케[打掛け]와 평상복인 고소데[小袖], 허리끈인 오비[帶]에 나타났다.
    번역하기

    고대사회부터 각 민족들은 저마다 고유의 독자적인 문화와 특징을 담은 다양한 문양을 의복, 장신구, 기물(器物), 도자기, 공예품 등에 장식하였는데, 그 중에서도 길상(吉祥)을 뜻하는 상징...

    고대사회부터 각 민족들은 저마다 고유의 독자적인 문화와 특징을 담은 다양한 문양을 의복, 장신구, 기물(器物), 도자기, 공예품 등에 장식하였는데, 그 중에서도 길상(吉祥)을 뜻하는 상징물이나 부귀ㆍ행복ㆍ장수 등을 의미하는 문양을 새겨 넣었다. 길상문양 중에 건강하게 젊음을 유지하면서 오래 살고자 하는 염원에서 나타난 장생문양은 유래된 도교사상의 신선설과 관련이 깊었다. 한국과 일본은 지리적 인접성으로 인해 같은 한자 문화권인 중국의 영향을 받아 신선사상을 받아들였다.
    한국의 장생문양은 삼국시대에 받아들인 신선사상이 바탕이 되어 장생사상과 길흉화복에 대한 관념이 심화되었던 고려시대를 거치면서 조선시대(1392~1897)에 들어 보편적으로 사용하게 되었다. 조선시대는 근세사회로서 사농공상(士農工商)이라는 엄격한 신분제도를 가진 시기였다. 신분적 한계와 더불어 왜구의 침략과 간섭으로 백성들의 생활은 궁핍해져만 갔는데, 백성들은 이를 극복하기 위해 현세의 행복과 건강, 장수의 염원을 담은 장생문양을 의복과 장신구 등에 새겼다. 의복 중 장생문양이 나타난 예복은 노의(露衣), 원삼(圓衫), 활옷[闊衣], 당의(唐衣)가 있으며 장신구인 노리개, 주머니가 있다.
    일본의 장생문양은 나라시대(710~784)에 신선사상과 함께 백제의 불교문화가 들어와 자연 만물에 신이 있다고 믿어왔던 고유의 민속신앙, 자연신앙과 융합되어 발달하게 되었다. 에도시대(1603~1868)도 조선시대와 같이 엄격한 신분제도를 가진 시기였으나 일본의 장생문양은 전란이 없는 태평성대의 사회적 분위기로 인한 서민문화의 발달과 과시적인 풍조로 인해 상징적인 요소와 함께 의복을 장식하는 요소로 사용되었다. 장생문양은 의복, 도자기, 생활용품 등에 장식되었는데 의복에는 예복인 쥬니히토에[十二?], 우치카케[打掛け]와 평상복인 고소데[小袖], 허리끈인 오비[帶]에 나타났다.

    더보기

    목차 (Table of Contents)

    • Ⅰ. 서론 1
    • 1. 연구 목적 1
    • 2. 연구 방법 및 내용 4
    • Ⅱ. 이론적 배경 6
    • 1. 근세 한·일 장생문양의 발생 6
    • Ⅰ. 서론 1
    • 1. 연구 목적 1
    • 2. 연구 방법 및 내용 4
    • Ⅱ. 이론적 배경 6
    • 1. 근세 한·일 장생문양의 발생 6
    • 1) 조선시대 장생문양 7
    • 2) 에도시대 장생문양 11
    • 2. 근세 한·일 여자복식의 특징 15
    • 1) 조선시대 여자복식 15
    • 2) 에도시대 여자복식 28
    • Ⅲ. 근세 한·일 여자복식에 나타난 장생문양 비교 고찰 36
    • 1. 조선시대 여자복식에 나타난 장생문양 36
    • 2. 에도시대 여자복식에 나타난 장생문양 83
    • 3. 조선시대와 에도시대 여자복식에 나타난 장생문양 비교 122
    • Ⅳ. 결론 128
    • 1. 결과 및 요약 128
    • 2. 제언 및 한계점 131
    • 참고문헌 133
    • ABSTRACT 138
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