혼례물목류(婚禮物目類) 고문헌 자료를 활용한 민간 전통혼례 문화 연구

김정녀 ( Jeong Nyeo Kim ) 한민족문화학회 2011 한민족문화연구 Vol.38 No.-

본고는 일군의 ``혼례물목류(婚禮物目類)`` 고문헌 자료의 양식적 특성과 자료적 실태를 파악하고, 고문헌 자료를 활용해 ``민간 전통혼례`` 문화를 구체적으로 살펴본 것이다. ``혼례물록``이란 과거 혼례 때 소용되었거나 주고받은 일체의 ``물품 목록``을 말하는데, 이 혼례물목류 고문헌은 우리나라 전통혼례 풍습과 민간의 생활상을 실증적으로 조명할 수 있는 자료이다. 그럼에도 불구하고 그동안 혼례물목류 고문헌 자료를 활용한 연구는 거의 없었다. 본고에서는 이러한 자료들을 적극적으로 활용함으로써 학계의 관심 영역을 넓히는 한편 민간 전통혼례에 대한 실증적 이해를 도모하고자 하였다. 우선, 혼례 관련 물목에는 어떤 것들이 있으며, 현전하는 자료는 어느 정도나 되는지를 살펴보았다. 이를 위해 혼례물목류 고문헌 자료들을 전통혼례의 절차, 내용적 특징, 그리고 자료의 형태 등을 고려하여 크게 다섯 가지 유형으로 분류하였다. 혼구물목, 우귀물목, 납폐물목, 부조록, 혼구·우귀물목 유형의 자료가 지닌 각각의 양식적 특성을 살피고 연구에 활용 가능한 자료의 종류와 그 가치를 밝혀 혼례물목류 고문헌 자료에 대한 학문적 관심을 불러일으키고자 하였다. 다음, 혼례물목류 고문헌 자료 중 상당수를 차지하고 있는 ``우귀물목``을 중심으로 혼수·예물의 종류와 규모 등을 살펴보았다. 총 48종의 자료를 살펴본 결과, 우귀물목은 그 내용과 형식에 따라 크게 두 가지 형태를 보인다. (1) 신부가 시집에서 사용할 혼수용 세간 품목과 시댁에 보내는 예물에 대한 구분 없이 물목만을 적은 경우와 (2) 시부모를 비롯한 시댁 친지들에게 보내는 예물을 그것을 받을 사람에 따라 적은 경우이다. 대개의 우귀물목은 (1)에 해당하며 (2)의 고문헌 자료들은 1950년대 이후에 작성된 것으로 보아 (2)보다는 (1)이 전통적인 물목 형태였던 것으로 보인다. 우귀물목 고문헌 자료에 보이는 혼수·예물의 종류와 규모 등은 일정하지 않은데, 적게는 20여 종의 물품에서부터 많게는 200여 종에 이르기까지 시대별, 신부 집안의 경제력 등에 따라 차이가 난다. 이들 자료들을 두루 살펴보았을 때 신부의 필수 혼수 품목으로 꼽을 수 있는 것은 가구류, 의복류, 옷감류, 바느질 용구, 화장품, 장신구 등이고, 요강, 대야 등도 필수 품목으로 넣을 수 있을 정도로 빈번하게 보인다. 한편 물목에 올라와 있는 물품의 품명, 화폐 단위나 액수 등을 토대로 물목이 산출된 시대를 짐작할 수 있는데, 1950년대에 나온 자료들과 이전 자료를 비교해 보았을 때 예물을 마련해야 하는 친척의 범위가 후대로 갈수록 넓어지고, 예단으로 보내는 물품도 현금과 물건의 혼용 양상을 보인다고 하겠다. 이 외에 ``혼구물목``, ``납폐물목``, ``부조록`` 등의 고문헌 자료는 현재 남아 있는 가짓수가 많지 않지만 역시 당시의 혼례 풍습과 문화를 보다 가까이서 조명할 수 있는 소중한 자료들이다. 관련 자료가 좀 더 모아지면 우리나라 전통혼례 문화의 실상을 실증적으로 고찰할 수 있을 것이므로 앞으로도 지속적인 관심이 요청된다 하겠다. This study examines the style properties and the real condition of the data in the old documentary records, ``the wedding catalogs of goods`` and researches concretely the culture of ``folk wedding ceremony`` using the old documentary records. As the wedding catalogs of goods are the whole catalog of goods given or taken in traditional wedding. The old documentary records of the wedding catalogs of goods is the data to be able to empirically examine the Korean traditional wedding custom and Korean people`s life conditions. Nevertheless, an empirical study about folk traditional wedding by surveying old documentary records is very rare. This study try to contribute to expand the interest domain in academy fields and promote empirical understanding on folk traditional wedding ceremony, by surveying the mass data in the old documentary records. First, I survey what kinds of the wedding catalogs of goods is and find what are in existence. For the purpose of this study, I classified traditional wedding catalog of goods by 5 types considering wedding ceremony procedure, the properties of contents and the form of the data. The catalog of goods of wedding outfits, catalog of what bride took when coming in newly the husband`s home, catalog of wedding presents of silk, record of congratulatory money or goods to aid in a marriage and catalog wedding outfits & what bride took when coming in newly the husband`s house are 5 type of wedding catalogs of goods. I try to survey these kinds of catalogs of goods, clarify the useful data and then arise the interest in the data of the old documentary records, ``the wedding catalogs of goods`` Second, I survey the type and the scale of wedding expenses and wedding jewelry on the focus of the catalogs of what bride took when coming in newly the husband`s home that is in existence most a lot. As a result of researching 48 data, the catalog of goods classified as two kinds of forms according to the contents and form. (1) data which were recorded together the furnishings that bride would use in the husband`s home and the jewelry that bride`s parent give to the parents - in - law. (2) data which were recorded separately as people taking the goods. Most catalogs of goods are (1). As (2) were written after 1950`s, (1) is more traditional form. The type and scale of marriage expenses and jewelry in the records of goods are very various from 20 types goods and 200 types goods. This difference cause in financial means of bride`s parents and periods. Through these records, bride`s essential goods are furnishes, clothes, fabric, sewing, cosmetic, jewelry and so on, and a bedpan and a basin are often appeared. On the ground of the name of goods, monetary unit or price in the documentary I can guess the period. Comparing the data in 1950`s and before 1950`s, the range of the relatives to whom goods were prepared, broadened and the mix aspects on cash and goods appeared as later generations. Above these catalogs of goods, catalogs of wedding outfits, catalog of wedding presents of silk and the records of congratulatory money or goods to aid in a marriage are valuable data for surveying the wedding ceremony custom and culture, in spite of being in existence more rare. If more data are collected, I will be able to survey Korean traditional wedding culture more concretely. So continuous interests are needed.

동서양의 신부 화장에 관한 연구 -한국의 전통혼례를 중심으로-

이정원 ( Jung Won Lee ),구자명 ( Ja Myung Kuh ) 한국미용학회 2008 한국미용학회지 Vol.14 No.3

The intention of this study is I have right understand and inherit and advance the traditional wedding as I am research make up and hail styles in the traditional wedding. Research way of mine is the books of the traditional wedding and the preceding thesis. The first, our traditional wedding is a man goes to a woman`s house and they have a wedding ceremony and then begin a new marriage life in woman`s home. These kinds of our traditional wedding is mixed with Chines traditional wedding of confucianism and formed six ceremony which is Hon-dam, Nap-chae, Nap-gi, Nap-pae, Yae-sik and Oo-gui. The second, the formal dress of groom is Sa-mo, Dan-ryoung, Poom-dae and Hwa. the formal dress of bride is Hwal-ot or Won-sam tied with Dae-dae. A hair ornaments Jok-doo-lee or Hwa-gwan with an ornam400al hairpin(Bee-nyou), Youp-daeng-gee, Do-too-lak-daeng-gee and No-ri-gae. Bride`s shoes is Oon-hyae and Dang-hyae. The third, bride make up her face with a little more bright color, arch type eyebrows, red or a rouge on her cheek(Youn-jee), brow(Gon-jee) and lips. The nature and light make up color have to match with a korean traditional dress. It is better good give points to lips only. Otherwise, bride makeup in western wedding generally uses pearl feeling shadow eyes makeup on a shining skin and characters eyes with emphasis eye line. Lips use light pink lip gloss. The fourth, Hair is each half part in her ones and combs her hair back with a dense comb(Cham-bit) and braid and ties of her hair on back and low position of her neck. Then band fold up a braid imitate hair(Dal-bee) and tucks up the hair with red Daeng-gee(pigtail ribbon) and fixes it with an ornamental hairpin.

충청지방 혼례복식 연구

정복희 ( Jung Bok-hee ) 한국디자인트렌드학회 2011 한국디자인포럼 Vol.33 No.-

본 연구는 우리 민족 고유의 전통을 보존하고 계승, 발전시켜 나가기 위하여 충청지역에서 관습적으로 행해졌던 전통혼례의 혼례복을 체계적으로 분류하고 그 형태를 고찰하는데 목적을 두었다. 연구방법은 문헌조사와 충청도지역의 박물관, 향토민속자료관 등에 소장된 유물 그리고 개인소장자를 방문하여 면담조사 하였다. 조사 자료는 조선 말기부터 1960년대에 걸쳐 사용되어온 민간혼례복을 대상으로 하였다. 그 동안의 연구과정에서, 혼례복 관련 문헌에 언급되고 있지 않은 점이 있다는 것을 발견하였다. 예를 들면, 혼례복이란 혼례 시 입는 겉옷을 일컬으며, 계절과 무관하고, 여자에게 있어 혼례복은 초혼복을 말한다는 점이다. 충청지방의 혼례복은 동네에서 공동으로 사용하는 마을공용과 일가·친척이 사용할 수 있도록 가문에서 마련해 두고 사용하는 집안공용 혼례복이 있었다. 혼례복의 특징은 첫째, 맞춤옷이 아니고 기성복이며, 일반 옷보다 치수가 크고 넉넉하였다. 그러므로 사람의 키나 몸집에 관계없이 크거나 적어도 그냥 입었다. 둘째, 신랑 옷은 서민의 경우, 빈부에 관계없이 입었고, 신부의 경우는 빈부에 따라 옷과 장신구가 달랐다. 혼례복의 그 형태적 유형은 크게 신랑복식과 신부복식으로 나누어지고 다시 의복과 장신구로 나눌 수 있다. 신랑복식의 의복은 사모 관복 목화가 있으며, 장신구로는 각대가 있다. 신부복식의 의복은 화관, 족두리, 활옷, 원삼, 꽃신이 있고, 장신구로 비녀, 댕기, 대대가 있다. 충청지방 혼례복식의 형태는 왕실 혼례복에 준하여 유사하거나 덜 화려하였다. 이는 혼례 자체가 규범이고 혼례복은 국정혼례복으로서 전국이 정형화 되어 있기 때문이며, 충청지방은 서울 경기의 영향권이었으므로 더욱 그러한 것으로 사료된다. 연구과정에서 발견된 특이점은 혼례복 속에 입는 모시 적삼이 `시원하게 시집살이가 잘 풀리라`는 의미가 있다는 것이 일률적이나, 이는 혼례 일의 긴장과 낯선 환경에서 예상되는 체온 상승에 따른 대처방안일 가능성이 더 크다는 점이다. This study was conducted based on the idea of aiming at succeeding to and developing our own national tradition by classifying systematically the traditional wedding clothes dressed in ChungCheong province, and finding out their characteristics. There are two kinds of wedding dress; one is used for family and the other is for villagers in ChungCheong province. The characteristics of the wedding dress is a ready-made one whose size is larger and baggier than the ordinary one. The dress bridegroom`s dress is to be worn regardless of their status, and bride`s dress and ornaments according to the rich and the poor. In the process of study, the fact that traditional wedding had been standardized was found. As wedding costumes are nationally-designated one, and are in the same category across the nation, it is meaningless in itself to find out the characteristics of typical pattern in a certain province. It can be said that a lot of existing theses have made mistakes owing to the absence of exact concept on it * Wedding dress is considered as outer clothing wedded at wedding ceremony. * Wedding dress is unrelated to season. * For women, wedding dress regarded as the one used for the first marriage. 1.Classification of wedding costumes was indicated in mark. 2. Since wedding ceremony is standardized, it has a unilateral form nationwide. Thus, the difference depending on provinces means the change within the form of standardization. `Wedding dress in a district` should be dealt with according to the wedding tradition. 3. Wearing the unlined summer jacket made of ramie fabric has been generally thought to be helping women to have a comfortable life in the parents-in-law´s house without much difficulty. However, it seems more likely to be thought of as the means to lower the high temperature caused by stress and anxiety while spending long hours at the wedding, and as the revelation of mother`s deep consideration of her daughter as well.

유아교사의 전통혼례교육에 대한 인식과 요구도 조사

김인옥(Kim, In Ok) 한국유아교육·보육복지학회 2012 유아교육·보육복지연구 Vol.16 No.2

본 연구는 유아교사의 전통혼례 교육을 포함한 의례교육 수강경험과 의례교육에 대한 의식을 알아보고, 의례교육의 중요한 부분인 전통혼례 교육에 대한 인식과 실태 그리고 앞으로의 교육요구에 대해 알아보고자 하였다. 이를 위해 서울과 경기, 부산과 경남지역 유치원과 어린이집에 근무하고 있는 유아교사 384명을 대상으로 전통혼례교육에 대한 인식과 실태 및 요구 도를 조사하였다. 본 연구의 연구결과는 다음과 같다. 첫째, 의례교육 수강경험에 관하여 조사한 결과, 대부분 수강경험이 없는 것으로 나타났다. 둘째, 전통혼례교육에 대한 유아교사의 인식과 실태는 낮은 결과를 나타냈으나, 그 요구수준은 상대적으로 높게 나타났다. 셋째, 유아교사의 배경변인에 따른 전통혼례교육에 대한 차이를 조사한 결과, 전체적으로 학력과 경력에 따른 전통혼례교육 인식 및 실태에 차이를 보였다. 본 연구결과에서 전통혼례교육을 비롯하여 의례교육에 대한 교육환경이 현장에 있는 교사들에게 노출되지 않음을 확인한 바, 장기적으로 유아교육프로그램 및 유아교사들을 위한 교재 발간에 관심을 기울여야 할 것이라 본다. This study aimed to examine early childhood teachers' awareness, real condition and needs on korea traditional wedding. 384 early childhood teachers were examined using a questionnaire on teacher's awareness, real condition and needs about traditional wedding on kindergartens and day care in Seoul and Gyeonggi, Busan and Gyeongnam province . The findings of this study are as follows: First, early childhood teachers has little experience in education on traditional wedding include the ritual culture. Second, on awareness , real condition of traditional wedding education were low but needs level was relatively higher. Third, on the traditional wedding education according to early childhood teachers' background variables were significant difference in education and career level for the childhood teachers'. The results of this study, early childhood teachers want education program and opportunity for learning korea traditional wedding, opportunity and educational program for learning korea traditional wedding for early childhood was needs to give them to learn it.

민간 신앙과 기독교가 체코의 혼례에 미친 영향

권재일(Kwon, Jae-Il) 아시아·중동부유럽학회 2004 동유럽발칸학 Vol.6 No.-

기독교가 보급되기 이전의 체코의 혼례는 전적으로 민간 신앙과 민간풍습에 의존해오다가 기독교가 보급되면서 기독교의 영향을 받게 되고, 16세기 중반 교회 혼례의 의무화가 선언된 이후에는 그 영향력이 절정에 이른다. 그럼에도 불구하고 체코의 혼례는 민간 풍습과 관습의 전통을 계속 유지해왔고, 근대 시민 사회의 등장과 더불어 그 영향력이 증대되었다. 비록 혼례식은 성당이나 교회에서 거행하지만 나머지 의식은 민간 전통과 민간 의식에 따르고 있는 점이 이를 증명한다. 결국 체코 혼례에 대한 기독교와 민간 신앙의 영향이 시기마다 조금씩 다르게 나타나고 있는데, 역사의 초기에는 민간 풍습과 민간 신앙의 영향력이 상대적으로 컸다고 한다면,중기에는 기독교가 상대적으로 큰 영향력을 행사하였고, 후대에 와서는 시민 사회의 발전과 더불어 민간 풍습의 영향력이 증대하는 양상을 보이고 있다. 한편 체코의 전통 혼례를 공시적인 관점에서 살펴보면 혼례식을 기준으로 혼례식 이전 의례의 단계에서는 기독교적인 영향력이 차츰 증대되는 추세를 보이다가 교회에서 거행되는 혼례식에서 절정을 이룬 다음, 혼례식 이후 의례부터는 다시 민간 풍습과 민간 신앙의 영향력이 중대되는 추세를 보이고 있다. 구훈과 약혼에서 결혼 전야제에 이르기까지의 혼례식 이전 의례는 거의 전적으로 민간 풍습과 민간 신앙에 의존하고 있는 반면에 혼인 예고와 신랑과 신부에 대한 교려 문답과 같은 일부 의례만 교회에서 행해질 뿐이다. 혼례식은 교회에서 이루어지기 때문에 전적으로 기독교 의식에 따르지만, 일반 민중들 사이에서는 여기에도 민간 신앙적인 믿음이 침투하고 있다. 그리고 피로연, 신부의 기혼녀 머리 씌우기, 신행, 신부 맞이하기와 다루기 등으로 구성되는 혼례식 이후 의례에서는 다양한 민속과 각종 민간 신앙적이고 주술 신앙적인 비방이나 처방이 가장 많이 등장한다. 그러나 다산을 기원하고 재앙을 예방하기 위한 민속적이고 민간 신앙적인 의식이라 할지라도 그 속에는 대부분 기독교적인 요소와 기독교적인 상징체계가 내포되어 있음을 확인할 수 있다. 결국 체코의 전통 혼례는 민간 신앙적인 요소와 기독교적인 요소가 혼합되고 복합된 양상임을 알 수 있다. The Czech wedding had been celebrated according to the popular customs and manners before Christianity, while with the introduction of Christianity in the Czech Lands the influence of the Roman Catholic Church on the wedding had been on the increase, particularly after the Decree of the Council of Trent in 1563 that the wedding ceremony must be held in the Church only. Nevertheless, common people continued to celebrate their weddings in their manners, even though the ceremony itself was solemnized in the Church. Proposal of marriage, marriage settlement, engagement, preparation of wedding costumes, wedding cakes, wedding tree, and floral wreaths, most of these events before the wedding ceremony were in accordance of folk customs and manners, which included many kinds of popular believes, superstitious believes, and magic practices. In the fπst part of the traditional Czech wedding only the wedding announcement and catechism, i.e. question-and-answer examination of the bride and bridegroom took place in the Church. Parents' blessing to the bride and bridegroom in the morning before leaving for the Church was a mixture of popular rites and Christian ones. Of course, the very ceremony of the traditional wedding was held in the Church or Cathedral, however popular believes penetrated into even the marriage service in the Church. For example, people believed that the one who steps to the altar first he or she will dominate his or her partner in their household. Also they believed that it is a sign of good luck if the sun shines at the moment when the new couple says “ano(Yes)" before the altar. Almost all celebration programs after the wedding service in the Church like stopping of the bridal procession, wedding reception, cepeni, i.e. putting the cepec, symbol of the married woman, on the head of the bride, orientation and test of bride in her new house, wedding dances and plays, all these were under the influences of the popular manners and customs as well as various magic practices, secret measures, popular believes, and superstitions. For example, the rite of making the bed(stlani loze) for the married couple in the first night was originated from a magic practice to protect the couple against the evil powers as well as to ensure the fertility of the couple. Another example is that the rite of scattering the corns over the couple when they arrive at the home of the bridegroom’s parents had the meaning for the people to wish the couple fertility. on the other hand, a series of ceremonial acts like the leading of the bride to the bridegroom in the first night and the bride’s farewell to her home the day after the ceremony were more influenced by Christian traditions. Furthermore most of the ceremonial acts based on the popular manners and customs contained Christian elements and Christian symbolism Therefor we can say that the Czech traditional wedding was influenced not only by popular manners and popular believes but also by Christian ones. It was only a matter of degree.

폴란드 혼례에 나타난 기독교와 민간 신앙의 영향 고찰

김종석(Kim, Jong-Suck) 아시아·중동부유럽학회 2004 동유럽발칸학 Vol.6 No.-

폴란드 전통 사회에서의 결혼은 그들이 속해 있는 사회의 윤리와 도덕을 지탱하고 정신세계의 가치들을 유지, 재생산하는 공간임과 동시에 탄탄한 경제적 토대를 마련하는 기회였다. 전통 폴란드 사회에서 혼인 의례는 출생 의례나 상장 의례보다 중요한 의례로 여겨졌으며 사회 계층,지역,경제적 사정에 따라 다양한 혼인 의례형태를 나타내고 있지만, 기본적인 틀은 기독교적 요소와 민간 신앙적 요소가 적절하게 혼합되어 전승 되어왔다. 폴란드의 전통 결혼식은 예외 없이 교회에서 이루어졌다 폴란드 건국과 동시에 수용된 기독교로 인해 교회 결혼식 자체가 전통 혼례이며 교회에서의 예식만이 결혼에 법적 효력을 부여하는 절차가 되었다, 해만 교회 결혼식이 전통혼례에 정당성을 부여해도 결혼식 전체의 의례와 의식에는 민간 신앙적 요소가 여전히 남아있다. 일반 농민들은 한 벤의 형식적인 교회 결혼식에 만족하지 않고 선보기,처녀총각의 밤,약혼,피로연,이별식,두건 씌우기 등 다양한 혼인 의식을 가짐으로써 집단적, 가족적 전통 양식을 지킴으로서 주위 공동체와 함께하는 의식을 고수하고 있었다. 특이한 것은 약혼식이 폴란드에서는 결혼과 동일한 선에서 취급되었다 는 점이다. 약혼식은 결혼식보다 손님이나 피로연 의례 규모가 작았지만, 양 집안이 대외적으로 혼인과 계약을 알리는 것이기 때문에 폴란드에서의 혼례는 약혼식과 함께 이미 시작되었다고 말할 수 있다. 과거는 물론 지금까지도 결혼 지참금 문제 즉, 경제적 요소가 전통 폴란드 혼례에도 가장 큰 역할을 했다는 점이다. 신랑과 신부 당사자들의 호감이나 사랑보다는 경제적인 문제가 결혼 결정에 가장 큰 역할을 하였고 양부모간의 상견례가 혼수, 지참금, 문제 결정을 위한 것이었음을 알 수 있다. 그리고 혼인 의례 중 예복,택일,부케,신랑 신부의 행동에 따른 여러 가지 민간 신앙적 요소가 신혼부부의 장래에 결정적인 영향을 미친다고 믿는다는 사실 등 혼인 의례에 민간 신앙적 요소가 현재까지 계승되고 있다고 말할 수 있다. In a traditional Polish society, marriage was a venue through which one sustains the ethics and morals of society, maintains and reproduces the spiritual values, and at the same time it served as an opportunity to create a solid financial foundation. In a traditional Polish society, wedding rites were considered more important than birth rites or funeral rites. While there were various forms of wedding ceremonies according to social and financial backgrounds or local needs, the combination of Christianity and folk beliefs in wedding ceremonies has been handed down through the ages. Traditional Polish weddings were held in churches with no exception. As Christianity was introduced into Poland at the time of nation building, church weddings became traditional marriage ceremonies and only church weddings had legal effects. Nevertheless wedding rituals and ceremonies still have elements of folk beliefs. Common farmers were not satisfied with a formal church wedding. They performed various marriage ceremonies such as arranged meeting, Bachelor and Bachelorette Parties, engagement ceremony, wedding reception, goodbye ceremony and hood wearing. By protecting such collective and familial traditions, they have adhered to wedding ceremonies that the community shares. What is unique about traditional Polish wedding is that an engagement ceremony has been treated the same as the wedding ceremony. Despite the smaller number of guests or the scale of reception, the engagement ceremony annoW1ces the marriage agreement between the two families to the outside world. Therefore it can be said that the marriage started by an engagement in Poland. In the meantime, an economic factor, namely dowry, has played the most important role in the traditional Polish wedding. Money than affection or love between the bride and bridegroom-to-be has played the largest part in the choice of a spouse and parents meeting was to settle the details connected with the dowry and trousseau. And folk beliefs related to wedding costumes, the good days, bouquet, and wedding rituals are thought to bring fortune or misfortW1e to the newly-weds, which means folk beliefs have continued to survive in the Polish wedding until present day.

전통웨딩의 인지정도에 따른 호텔기업의 이미지, 결혼식 구성요소 간의 비교연구

이애리 ( Lee Ae-ree ) 한국호텔리조트학회(구 한국호텔리조트카지노산학학회) 2021 호텔리조트연구 Vol.20 No.1

This study is made under the hypothesis that the level of awareness toward Celebrity Traditional Wedding will have influence on the perception of service quality and accordingly it will lead to different decision-making when selecting what to buy for one’s wedding ceremony. The first empirical finding of this study is that the service quality has significant difference amongst target customers, which makes hotels’ strategy focus more on elaborating and decorating tradtional wedding ceremony, especially banquet wedding hall at the hotel. The second finding is that the components for wedding ceremony (What to buy) have significant difference according to the level of awareness toward Celebrity wedding. Such components as design of banquet wedding hall, wedding costume & dress, make-up, lighting & sound system at the wedding hall, quality of service, Food & Beverage, parking capacity, easy access by public transportation have been strongly perceived by young generation as important factors for selecting wedding venue. The hypothesis that there might be difference in inner image is rejected while the difference in outside image is selected. generations while attracting Celebrity Wedding.

살랍족(撒拉族)의 전통혼례와 낙타희(駱駝戱)

박성주 ( Sung Joo Park ) 한국외국어대학교 중국연구소 2011 中國硏究 Vol.52 No.-

Salar nationality is a minority race with a population of around hundred thousand. Living in northwestern China, the nationality is located in the Salar nationality autonomous region, Xunhua county, which is in the east end of Qinghai province. They are descendants of Turk who emigrated from Central Asia to China from the early 13th century to 15th century. The nationality has inherited Islamic faith from their ascendants, and the Islamic values and spirits have immensely influenced the nationality`s lifestyle in general. In order to understand the culture of the Salars, the author studies both the characteristics of the Salars` traditional wedding ceremony and the Camel`s play, which is performed during in the ceremony. The traditional wedding ceremony of the nationality is observed in accordance with the Islamic doctrines; the matrimony is legally justified only when Imam read aloud the marriage testimony. Leaving her house, a bride sings a lament with weeping sounds in the wedding day. This lamentation is an expression of resentment against the intermediary and her parents, of missing of separation, and of appreciation toward her relatives. After the last procedure of the ceremony in bridegroom`s house, there is a banquet, and in advance of the banquet the bridal party gives congratulatory remarks. Only found in the Salars` wedding culture, these remarks are unique and they regard appreciation toward the groom`s party and request to look after the bride. The Camel`s play is performed during the wedding night. The play is comprised of dialogues, monologues, movements and dances and four characters appear in the play: Galemang(the progenitor of the Salar nationality), a Mongolian, and a white camel dressed up by two men. The story of the camel`s play deals with the origin of the nationality and the settlement. The contents of the play seem unrelated to the wedding ceremony; however, it is significant that the play is performed in front of numerous guests of wedding. This is because the music and dance in the play function not only as entertainment that adds to the amusement in the special occasion, the wedding ceremony, even under the strict religious atmosphere, but also as educational grounds that strengthen the awareness of the root and the identity as well as encourage the descendants.

Korean traditional textiles recorded in lists of goods for weddings in the early 20th century

Imsun Cho,Eun Jin Lee 복식문화학회 2020 服飾文化硏究 Vol.28 No.1

In this study, clothing items recorded in Nappyemulmok (納幣物目) and Ugwimulmok (于歸物目) in the early 20th century were examined. These clothing items were recorded on the lists of goods for wedding gifts from the 1910s to the 1930s. A large quantity of these lists were organized into eight categories by analyzing the fabrics of each item of clothing. Representative fabrics used for skirts and Jeogori (such as Myeongju, 明紬) were used widely. Jeoksam was mostly made with ramie fabric. Pants mostly used cotton such as Dangmok, Mumyung, and calico, with some use of silk. Gojaengi mostly used cotton such as Dangmok, Mumyung, and calico, with some use of ramie. Danui (單衣) used silk fabrics such Pparinseu, Myeongju, and Gyoju for decorative features that were revealed when rolled up. Naeui (內衣) is believed to be the closest underclothes to the body, and Mumyung was mostly used. Dangmok and calico were used for the Yodae (腰帶) and fabrics such as silk, Nobangju, and JuhangNa were used for outdoor use. This type of categorization is significant, as it can be used as academic evidence to verify and reproduce the clothing of the time by identifying fabrics, colors, and characteristics of certain items of clothing. Lastly, it is expected that the analysis of clothing will provide theoretical data in the same way that movies, dramas, and museum exhibitions feature modern traditional weddings.

근대이행기 혼례의 변화

박보영(Park, Bo-young) 역사문화학회 2014 지방사와 지방문화 Vol.17 No.2

19세기 말부터 20세기 초에 걸쳐 한국 의례는 근대화 논리와 서구 기독교 영향, 그리고 식민지 정책이라는 세 가지 중첩된 압박 속에 ‘근대적’으로 변모했다. 혼례는 대체적으로 기존의 전통혼례에서 비판받던 부분들을 개량하고 선택적으로 서구의 요소를 수용함으로써 혼합의례로 이루어졌다. 그러나 전혀 아무런 갈등 없이 순식간에 대중화된 것은 아니었다. 혼례에서 예(禮)를 담아내는 방식에 결정적인 차이가 있었다. 신식혼례 안에 교회 언어로 유입된 혼인동의의 양식은 서양의 역사성에 기반한 것으로, 한국 전통혼례에서 고수하는 ‘침묵’과 상충되는 것이었다. ‘침묵’은 유교적 덕목과 민간신앙의 속신으로 강화되어왔고, 전통과 근대가 부딪히는 접점에서 전통혼례의 이데올로기로 작용했다. 그 대척점에 선 비침묵으로서 ‘언어’는 교회의 권위에 통합하는 순종의 이데올로기로 작용했다. 지배적 권위와 의례가 요구하는 변화는 몸 안에 체화되어온 침묵의 가치가 급격하게 배제되는 데 대한 경계와 저항을 불러일으켰다. ‘침묵’으로 전통의 권위와 긴장을 유지하던 혼례는 도시와 농촌, 시간의 흐름, 혼인 당사자의 의례 수용 정도, 대중의식의 편재 등 제반 조건에 따라 차등을 두고 새로운 양식 안에 점차 통합되었다. 식민지 근대의 유럽 흉내내기가 조장하는 의례의 에티켓 개념화는 침묵의 예(禮)를 폭죽과 같은 확대된 비침묵으로 대체하면서 혼례를 과시의 의례로 변형시켰다. As part of a religious ceremony, rituals denote a collective attitude towards sanctity. However, rituals also fall into other categories. Indeed, religion does not only talks about sanctity but also about everyday life. Thus, rituals imply intuition of history, that is, the dynamics between everyday life and societies. From late 19th century to early 20th century, the korean traditional rituals had been altered by external pressure, namely modernization, western religion and colonialization. But those rituals did not totally change and nor did they break away from tradition. Standing both as an embrace of and an influence on power, rituals not only had a firm grip on continuous competition but also were in full command of the “changing” strategies. The purpose of this study is to examine how traditional rituals competed with the rapid modernization of the society for preservation, as reported in the German missionaries’ records. In other words, this study will investigate how and to what extent Koreans accepted those changes through marriages. A marriage ceremony is a rite of passage that unites two households and ratifies a new member’s arrival in another family. Korean traditional wedding ceremonies in particular, transcending the spouses’ individualities, involved the whole village in the festivities. These traditional wedding ceremonies did not reject the Christian wedding rituals but, on the contrary, assimilated them rather quickly. Nonetheless, this did not happen without some resistance. That is, ‘silence’ and ‘speech’, in their mutuality, showed their dissonance to the bitter end. On the one hand, the principle of silence was established as a Confucian virtue as well as a popular creed to embody the ideology of traditional marriage in the collision between tradition and modernity. On the other hand, ‘speech’ as the negation of silence represented the ideology of obedience to the Church authority. Ultimately, the fact that the principle of silence could not be wiped out at one stroke was not an issue and in time traditional rituals were delayed within the silence-speech antagonism. Elements of Europeanism that mimicked the Europeans’ colonial modernity and followed their rituals system were integrated into the Korean rituals as a form of etiquette that was not courtesy. Although the principle of silence persevered in ideological resistance within wedding ceremonies, in the end it faded into the negation of silence that set off like a firecracker. Marriage ceremonies were then transformed into a display of clamorous celebrations.