『악학궤범』 복식의 착용에 관한 연구

• 영문명: A Study of Costume Wearing in Akhakgwebeom
• 발행기관: 국립국악원
• 저자명: 박가영(Park Ga Young)
• 간행물 정보: 『국악원논문집』제16집, 7~48쪽, 전체 42쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2004.12.31

영문 초록

This research is intended for the recreation of the actual shapes of the costumes depicted in the musical text, Akhakgwebeom, published in the reign of King Seongjong(r. 1469-1494). To do so, all the costumes described in the book were classified and analysed to settle them in coordination with the exhibition of musical instruments. Then the measurements in the original text are changed into modern metric units and three-dimensional drawings of them are drawn. The costumes in the Akhakgwebeom can be classified into two kinds - costumes for musicians and costumes for performers(dancers). The musicians costumes include two major kinds respectively for aak(traditional music) players and sogak(popular music) players according to their performances. The sogak players are divided into two kinds, gongbok for jipbak performers and sibok for hyeopryullang performers. The basic costume for traditional music(aak) players are composed of gaechaek(hat) and clothing of biransam. On the other hand, various kinds of costumes were used by the sogak players, depending on occasions of different rituals and feasts. And separate costume was designated for the gwanhyeon maengin(blind musicians) for the occasions of naeyeon(palace feast mainly for women). Costumes for performers are divided into aksaeng, akkong, yeogi(female entertainers), cheoyong(mask dancers), mudong(child dancers), and hak(crane) for more considerations. The costumes for performing aksaeng in civil dance (munmu) and in military dance (mumu) were considerably different during the reign of King Sejong(r. 1418-1450), but eventually the differences had disappeared except for the hats for them in the reign of King Seongjong(r. 1469-1494). For occasions of dukje(rites for military flags) military costumes like armors and helmets were included. Because yeonhwadae little girls (dongnyeo) were small and young, their costumes were shorter than the danjang for female entertainers(yeogi), with slight differences in colors and other details. The costumes for other female entertainers are divided into two - danjang and heukjangsam. And they were again differentiated into two - youngsters(yeonsogi) with long braided hair, and elders(yeombalgi) with raised hair-do. Costumes for mask dancers(cheoyong) were colorfully designed according to the distribution principles of the five basic colors. Dancing boys(mudong) at the performance of mask dances were silk clothed in five colors, and singing boys(gadong) were clothed either in ritual clothes(yebok) or in combat clothes(yungbok). For crane dance(hakmu), the shapes of blue and white cranes were made to cover dancers bodies in dancing, and the differing colors for different parts were decided. The costumes shown in the Akhakgwebeom faithfully reflect the characteristics of the costumes in the earlier Joseon period, as we can verify with the excavated remains of the contemporary clothings. But it is advised that those in the book reflect special costumes for the occasions of rites and feasts, thus making some differences from the actual clothings of the period inevitable. Main features of the costumes for musicians show that lower classes of them, aksaeng and akgong, were colorfully clothed in a great variety, whereas the leading musician of them(aksa) was clothed with simple and elegant official costume. And for these occasions forbidden costumes were specially permitted, and the contrasts of complementary colors of red and green were often adopted. The characteristics of the performers costumes were to reflect the contents of the performance and to modify the clothes for more convenience in performance. Compared with the musicians costumes, they were diverse in varieties and in colors with innate symbolism reflecting values and thoughts.

목차

Ⅰ. 머리말

Ⅱ. 연구방법

Ⅲ. 『악학궤범』 복식의 문제점과 해결방안

Ⅳ. 『악학궤범』 복식 착용의 분석

Ⅴ. 『악학궤범』 복식의 특징

Ⅵ. 맺음말

Abstract