[지금 지역에서는] 투쟁으로 세월을 살아낸 유성 노동자들, 10년 만에 합의서에 ‘금속노조’ 직인을 찍다!

장경희 한국노동안전보건연구소 2021 일터 Vol.- No.-

AIDS의 새로운 약물치료제

장경희 대한에이즈예방협회 2001 레드리본 Vol.41 No.-

에이즈 백신의 미래 전망

장경희 대한에이즈예방협회 2001 레드리본 Vol.38 No.-

韓國 佛敎儀式法具의 美術史的 意味 : 王室 工藝品과의 比較를 통하여

張慶姬 동국대학교 박물관 1996 佛敎美術 Vol.13 No.-

Treatment Interruption은 무엇인가?

장경희 대한에이즈예방협회 2002 레드리본 Vol.44 No.-

에이즈와 종양 -카포시 육종이면 에이즈 의심-

장경희 대한에이즈예방협회 2002 레드리본 Vol.46 No.-

조선 후기 內弓房 內弓人의 別造弓 제작실태

장경희 한서대학교 동양고전연구소 2020 東方學 Vol.0 No.42

It is well known that the bows of the Joseon Dynasty have been classed to be of the best quality in the world. This paper aims to examine the background of the production of the high-quality bows through conducting research on literature from the late Joseon. To that end, the study analyzed artisans that belonged to Naegungbang of the Joseon Dynasty; and reviewed their statuses, the manufacturing system of special bows, the supervising officer and the archery competition held to inspect their quality. The research indicated that the kings of the Joseon Dynasty displayed many interests in specially created bows and arrows to be offered to envoys from China or their subjects. In order to maintain their high quality, King Sukjong appointed a supervising officer(Jigungpumdangsang) at the third rank or higher who was responsible for inspecting the quality of bows to be offered to the king. King Yeongjo made them classify bows and arrows into grade, record their grades in the list and report it to the Ministry of Military Affair. In particular, King Jeongjo, who was an excellent archer himself, frequently held archery competitions for his subjects and identified the quality of the items and granted the awards to high quality bow makers or excellent archers as a mark of encouragement. From the mid-18th to the late 19th, the statuses of the bow makers and arrow makers at the Office were higher than those of other artisans, and generally the military personnel who did not hold governmental posts engaged in these jobs. They were not only capable of the production of bows or arrows but also for the art of shooting an arrow as military personnel. Of them, the distinguished artisans, who were acknowledged by the officials and the governmental offices to have created 1,000 or more bows or arrows at the Office Designated for Making Bows and Arrows spanning two decades, were able to hold higher official posts. A number of them produced the objects for 40 to 60 years; several brothers worked as artisans and formed artisan families. Thus, from this research, it can be identified that the excellence of Korean bows and arrows was the outcome of the dexterous skills and experience of the artisans, the meticulous inspection of the supervising officers and the strict management of the records.

고종황제의 금곡 홍릉 연구

장경희 역사학연구회 2007 사총 Vol.64 No.-

Hongreung is the imperial grave of Emperor Kojong and his wife Empress Myungseong[明成皇后]. She was killed by Japanese in 1895 but her national funeral was deferred for two years. In 1897, King Kojong appointed himself Emperor by declaring Korea as Daehan Empire[大韓帝國]. Meantime, his wife was buried as Empress at Hongreung graveyard at Cheongryang-ri. At that time, Emperor Kojong ordered his ministers to dispatch an emissary to Beiking, China to copy Imperial Tomb System of Ming Dynasty in order to develop Hongreung into a really empress scale tomb. But, this was not realized because of tight schedule. Therefore, he had the stone carvings of the tomb at Cheongryang-ri repaired referring to both Korean traditional royal and Chinese imperial tomb styles. However, Hongreung at Cheongryang-ri was too small to provide a space for an imperial graveyard. So, Emperor Kojong decided to remove the Empress from Hongreung to a new imperial graveyard to be builtat Keumgok (currently Yangju area, Kyunggi-do) from 1900, including a provisional tomb[壽陵] for himself. He established an ad hoc government office to be responsible for the graveyard construction and removal[遷陵․山陵都監] and chose Keumgok as auspicious location. Then, he mobilized all available human and physical resources to establish Korean imperial grave system and to build comparable tomb buildings and stone carvings[石儀]. Though he hasted to remove the Empress tomb by providing all necessary facilities exerting all efforts, it was delayed because of various other urgent state affairs. In 1919 when the Emperor deceased, the current Hongreung Imperial Tomb at Keumgok was finally completed and various stone carvings which had already been prepared were deployed at the graveyard during his national funeral. Thus, enormously large buildings and various stone carvings which had been built or prepared while Kojong was alive as Emperor of Daehan Empire(1897~1910) but the stone carvings were fully deployed at Hongreung, Keumgok, only in 1919 when he passed away. Therefore, Hongreung, Keumgok, is the only imperial graveyard in Korea. It includes various buildings and sculpture pieces, which are highly significant in Korean history, especially the country’s art history. According some scholars, however, the Imperial Japanese government allegedly chose the place for Hongreung, Keumgok and built the tomb according to Japanese styles, when Kojong passed away in 1919. Consequently, because of such wrong allegation, Hongreung at Keumgok, Korea’s only imperial graveyard, has been mistakenly known as a tomb belonging to the Japanese colonial age, irrelevant with growth of royal tombs, architecture or sculpture in Chosun dynasty. Therefore, this paper exerted to disclose that Hongreung at Keumgok is an imperial graveyard of Daehan Empire by collecting and compiling various historical records related to the national funeral of Empress Myungseong and Emperor Kojong. To that end, we have examined the entire processes and developments of building various royal or imperial graveyards, from Sukreung[肅陵] at Dongguneung[東九陵] built in 1895 to Hongreung at Cheongryang-ri in 1897, Hongreung at Keumgok in 1900 and Hongreung at Keumgok in 1919. In this connection, we have examined the related historical records, including establishment of an ad hoc government office [Dogam 都監], organization of its administrators, formulation of expense budget, procurement of stone and wood materials to build the imperial graveyard, and mobilization and service of skilled craftsmen. We also compared and reviewed the stylistic changes between the sketch drawing[見樣] and actual relics of stone carvings at Hongreung, Keumgok. We have discovered the following significant facts through a minute examination of historical records[儀軌] that describe the circumstances in those days : First, Hongreung at Keumgok was not built in 1919 as so far known. Emperor Kojong founded an a...

高麗時代 毛織製作과 對外交涉

張慶姬 백산학회 1998 白山學報 Vol.- No.50

朝鮮初期 綿紬의 朝貢制 硏究

張慶姬 미술사연구회 2002 미술사연구 Vol.- No.16