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朝鮮 宮中皇才服飾과 儀物에 關한 硏究

Title
朝鮮 宮中皇才服飾과 儀物에 關한 硏究
Other Titles
(A) STUDY ON DANCING COSTUMES AND ORNAMENTS OF YI DYNASTY
Authors
金垠利.
Issue Date
1978
Department/Major
교육대학원 체육교육전공
Keywords
조선궁중황재복식의물황재복식
Publisher
이화여자대학교 교육대학원
Degree
Master
Abstract
本 論文은 官中의 各種 宴孝에 추던 呈才를 通하여 呈才服飾 種類와 時代的 변모를 分析하여 呈才服飾의 傳統을 규명하고 원형을 복원 시키는데 目的이 있다. 그러므로 各 文獻에 나타난 呈才服飾을 分析하고 현재 國立國樂院의 자료를 中心으로 비교 分析 하였다. 呈才의 發生및 消長過程을 살펴보면 呈才는 왕실의 대소 의식이나 연회의 必要에 依한 것이며 朝鮮初期에는 高麗의 樂制나 舞制를 답습 하고 世宗조에 이르러 자국화 되었다. 朝鮮中期에는 王이 낙점하여 必要한 呈才를 직접 고르므로 그 必要를 가중시켰으며 朝鮮末期에 와서 전문적인 안무가가 呈才를 창제하고 연회의 種類에 따라 舞童이나 女伶을 區分하게 되었다. 또한 呈才는 王을 中心으로 완상용으로 사용되었기 때문에 상류계층의 시각적인 만족을 위해 의상이나 의물에 상당한 배려가 있었다. 그러므로 服飾과 儀物이 갖는 위치는 매우 중요하다. 各文 文獻에 呈才服飾을 보면 상의, 하의, 대, 관, 신으로 區分할수 있는데 이것은 呈才의 種類에 따라 독특한 양상을 띠고 있다. 各 時代別 복식의 特徵을 살펴보면 文獻上의 정재복식과 현행 복식에는 몇가지 상이점이 있다. 儀物의 種類와 形態에 있어서도 現在까지 전해오는 것이 있으나 文獻上의 記錄 만으로 남아 있는 것이 많다. 본고를 통해 살펴 본 결과 1. 여령의 복식은 기본 복식을 사용 했다. 2. 악사, 전악, 악공의 복식을 순조28년대의 것을 제외하고는 같은 색과 모앙으로 나타났다. 3. 춘앵전, 처용무, 무산향, 선유락, 검기무의 복식은 시대에 따라 독특한 양상을 유지했다. 4. 관, 신, 대등의 변화는 다양하게 바뀌었다. 5. 복식의 색상을 음양오행의 이론에 따라 사용했다. 6. 모든 정재는 신을 착용하나 현재는 처용무를 제외하고는 사용하지 않는다. 7. 정재에 사용된 각종의물은 대부분 문헌상의 원형과 동일한 것으로 나타났다.;This thesis is aimed at revealing the tradition of dancing costumes and its ornaments as well as reinstating the original form by analyzing closly dancing costumes of various forms and their ornaments including its historical changes through the dance numbers performed at court banquets. Therefore, I have analyzed the dancing costumes and compared them with materials now in the collection of the National Classical Music Institute. As a result of my study on the developmental process of the court dance, I arrived at the conclusion that the court dance settled down during the reign of King Sejong and the dancing tradition created for royal ritual ceremones and banquets. In the early days of Yi Dynasty, the court dance was imported directly from Koryo Dynasty. In the middle part of Yi Dynasty, monachs selected court dances on the basis of their personal flavor and that helped to further develop the court dances. Since then, dance numbers had been classified into two-one for female dancers and the other for males. During the declining period of the dynasty, professional choreographers began creating court dance numbers. Since the court dance was primarily designed to meet the personal flavor of monachs, much attention was paid to improvement of visual effects of costumes and ornaments. Various records' give us information that costumes are classified as upper wear, under wear, crown and boots. All of these ornaments take on significance, varying according to each dance numbers. Some differences can be traced when we look into the traditional costumes shown in ancient records and the costumes now being widely used. Although some of ancient ornaments and styles have been handed down, many of them are not be used currently and shown only in ancient records. Following is the result of my study : 1. Female dancers continued to wear basic costumes in disregard of historical changes. 2. Court musicians also wore the same costumes in their color and style throughout the Yi Dynasty but the style of costumes wear slightly changed during the 28th reign King Sunjo. 3. We can find a peculiar pattern in costumes used for five dance numbers such as Chunangchon, Choyong-mu, Musanhang, Sonyurak, and komki-mu. 4. A wide variety of such ornaments as belt, boots, and crown was greatly changed. 5. The color of costumes was decided according to Yin-Yang theory. 6. All dancers were required to wear boots while performing at royal palaces, but the tradition is not applied these days, except is Choyong-mu. 7. Ornaments of various forms were revealed to be mostly identical with the original form described in the records.
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