조선후기와 에도 기생의 두발양식과 장신구에 나타난 조형성 분석

박인애,전현진 한국인체미용예술학회 2019 한국인체미용예술학회지 Vol.20 No.1

This study comparatively analyzed the formality of hairstyles and hair accessories in the cosmetology culture of the Gisaeng (Korean equivalent of geisha) who led the cultural trends during the late Joseon and Edo periods. For this, it was assumed that the late Joseon and Edoperiods were the time when the grounds for the history of cosmetology culture were established. Specifically, the late Joseon era refers to the period from the reign of King Gwanghaegun (1608, 15th king of Joseon Dynasty) after the imjinwaeran (Japanese invasion of Korea in 1952) and byeongjahoran (Chinese invasion of Korea in 1636) to the reign of the 25th king Cheoljong (1863), while the Edo period was limited to the period from the reign of the 1st shogun Tokugawa Ieyasu (1600) to the 15th shogun Tokugawa Yoshinobu. According to an analysis of hairstyles and hair accessories during the late Joseon and Edo periods based on formality theory, oval-vertical and symmetric-asymmetric styles were found during the late Joseon era while triangular, oval, round and symmetric styles were observed during the Tokugawa period. In terms of texture, both rough and smooth textures were adopted during the late Joseon period while smooth texture only was expressed during the Edo period. From a color perspective, ‘natural black’ was observed in both countries. In terms of hair accessories, symmetric items were found during both the late Joseon and Edo periods. In terms of texture, hair accessories from the two countries showed different texture depending on material type. However, they were mostly smooth in the body with diverse textures in the ornamented parts such as jewels, intaglio and silver workmanship. Regarding the color of hair accessories, gold and silver were common with elaborate color in the ornamented part during the late Joseon period. During the Edo period, in contrast, a wide variety of colors including black, red, dark colors, metal and jewels were observed.

일본인의 마게(□)형태에 관한 연구 -에도시대(江戶時代)부터 현대시대(現代時代)를 중심으로-

김지연 ( Ji Yuon Kim ),진형여 ( Hyung Yeo Jin ) 대한미용문화예술학회 2013 대한미용문화예술학회지 Vol.2 No.2

This study contemplates Magae forms reflecting social and cultural characteristic of Japanese from Edo period to Taisho period and considers how Magae forms have been changed in modern times. The results of study are as follows: First, a diversity of changes in every direction such as politics, society, and culture were vitalized in the period of Edo and Taisho and Magae forms of women had influence on the period of Edo and Taisho based on economic stabilization and cultural development. Second, it implied that Magae forms were transformed by women who hung on their status and tradition and the modern women who were affected by western culture. Third, it also stands that Magae forms had the light Magae from used by beauty of curve and wave of the modern women who were influenced by traditional Magae forms which were voluminous of the Edo period. Therefore, Edo period had various changes in many different directions such as politics, society, and culture and it was focused on Magae forms and hair styles were centered on volume hair styles like Jeonbal, Bin, Tarboro, and Magae. It was turned by natural Magae forms like wave, shaggy, and twist in Meiji and Taisho period. When considering those results, this study indicates the changes of Magae forms of Japan by looking at the Magae forms of Japanese women and it shows how the Magae forms have been changed in modern. These results of this study would be helpful for people who research on hairdressing.

사카이 호이쓰(酒井抱一)의 림파(琳派) 수용과 에도(江戶) 이식

김진주 ( Kim Jin-ju ) 동양미술사학회 2020 동양미술사학 Vol.11 No.-

17세기 교토(京都)에서 형성된 림파(琳派)는 사카이 호이쓰(酒井抱一, 1761~1829)의 활약으로 19세기 초 에도(江戶)에 성공적으로 이식되었다. 호이쓰와 그 一門에 의해 19세기 에도에서 전개된 림파를 가리켜 오늘날 에도림파(江戶琳派)라 지칭한다. 에도에서 림파를 수용한 것이 비단 호이쓰만은 아니었으나 림파를 에도에 이식시키는 데 성공한 것은 호이쓰가 유일했다. 本考에서는 호이쓰가 림파를 수용해 에도에 이식시켜 나간 과정을 조망하고 이를 통해 그가 에도림파의 시조가 될 수 있었던 요인에 대해 고찰하였다. 호이쓰는 출가 직후인 1790년대 후반 무렵부터 고린풍(光琳風) 작화를 시작해 오가타 고린(尾形光琳, 1658~1716)의 100주기인 1815년 이후 본격적인 림파 화가로서 활동하였다. 호이쓰는 고린과 그 동생인 겐잔을 경모하여 추선법요, 유묵전, 묘소 수복, 화보 출판 등 다양한 행사를 개최하고 이들 형제를 현창하였다. 특히 ‘오가타류(緖方流, 尾形流)’라는 표제를 붙인 인보의 출판은 유파로서의 림파를 최초로 규정한 것으로 주목된다. 여기에 호이쓰를 지지하며 그의 활동에 적극 참여했던 주변 동호인들의 도움이 더해져, 호이쓰는 고린과 깊은 인연이 있는 사람으로 대외에 널리 인식되었다. 또한 호이쓰는 림파를 학습하고 수용해 이전의 림파와 구별되는 자신만의 독자적인 화풍을 확립했다. 우미하고 서정적인 정취나 사생성에 중점을 둔 묘사 등 호이쓰가 만들어낸 림파의 새로운 양식은 당대 에도의 문화 향유층인 스이진(粹人) 사회가 추구했던 담박하고 세련된 도회적 감성을 구현한 것이다. 호이쓰가 에도림파 양식을 정립할 수 있었던 것은 그가 상류계급 출신의 에도 토박이(江戶っ子)로서, 교토 상류사회에서 태어난 림파의 본질과 당대 에도 문화 향유층의 요구를 모두 이해할 수 있었기 때문이다. 호이쓰는 오랜 기간에 걸친 고린 사숙과 림파 수용을 통해 고린과의 인연을 공공으로부터 인정받고 림파의 새로운 양식을 창출해냄으로써, 교토에서 태어난 림파를 에도에 이식시키는데 성공했다. 누구나 고린풍에 접근할 수 있었던 당대 에도 화단에서 호이쓰만이 유일한 고린의 계승자, 림파의 재흥자로 인정받을 수 있었던 것은 그러한 연유라고 할 수 있다. Sakai Hoitsu (酒井抱一, 1761-1829) has transplanted Rimpa (琳派) to Edo (江戶) in the early nineteenth century which had been born in Kyoto (京都) in the early seventeenth century. Rimpa developed in Edo by Hoitsu and his disciples is referred to Edo Rimpa (江戶琳派) nowadays. Hoitsu wasn’t the only one who embrace the Korin style in Edo but he was the only person who successfully transplant the Korin style to Edo. This article aims to illuminate the factors what made Hoitsu become a founder of Edo Rimpa through his activities that transplant and accept Rimpa in Edo. Hoitsu began to paint with Korin style in 1790s and became famous as Rimpa painter after the hundredth anniversary of Korin’s death in 1815. He held a memorial service and exhibition for commemorating Korin (尾形光琳, 1658-1761), also published art books and restored gravestones of Korin and Kenzan (尾形乾山, 1663-1743), the Ogata brothers. Album of Rimpa seals entitled Ogataryu Ryakuinfu (緖方流略印譜, Album of Simplified Seals in the Ogata School) made by him defined the Ogata style or Rimpa as a school for the first time ever. In addition, Hoitsu’s these movements had had the support of members in the same cultural group, so consequently, he became publicly recognized the person who is deeply related to Rimpa. Hoitsu also established signature style distinguished from original Rimpa style through research and acceptance of Rimpa. New style of Rimpa created by Hoitsu is not simply lyrical and delicate but intellectually sophisticated. It is embodied the aesthetic sense of contemporary Suijin (粹人, culturati of refined taste in Edo) society in Edo. Hoitsu was born and raised in Edo as Edoko (江戶っ子, a native of Edo), while at the same time he was a member of high society as the ruling class in Tokugawa shogunate (德川幕府). For this reason Hoitsu could understand both substance of Rimpa based on Kyoto and requirement of contemporary Edo. Hoitsu succeeded in transplanting Rimpa in Edo, accordingly, he had promoted himself as a person who have significant relation to Korin and had established the new painting style of Rimpa. In this way Hoitsu achieves recognition as one and only successor to Korin and restorer of Rimpa, even though, whoever wants to do so can approach Korin style in art scene of Edo at that time.

에도시대 우키요에(浮世繪)에 나타난 유녀(遊女)의 머리형태에 관한 고찰

박옥련(Ok-Lyun Park) 한국인체미용예술학회 2011 한국인체미용예술학회지 Vol.12 No.4

Prostitutes could lead the trends because they had less social restraints in making new attempts than other public or women in the aristocracy. Ukiyo-e(Japanese woodblock prints) drawing the prostitutes realistically described clothing, makeup or head shapes so that it played the roles like the current fashion magazines for the public at that time. Accordingly, new hair shapes in accordance with the lapse of time were identified by analyzing the hair shapes in Ukiyo-e. Hair shapes might be changed because of different social atmosphere depending on the time. The public had the economic richness by the development of monetary economy in the mid-Edo period. Then, the hair styles became complicated and decorative as compared to the early days of Edo period. The hair styles showed the attempt to escape from the skillful and showy styles in the mid-Edo period in the late Edo period. Thus, the hair style returned to the natural style. In terms of the types, three hair styles, Hyogo-mage, Shimada-mage and Katsuyama-mage, were found. Even the same style was slightly different depending on the social atmosphere by period. In particular, the exaggerated hair style using Torobin which was frequently used for hair styles of courtesans since mid-Edo period emphasized the feminine beauty in Edo period. Such trend was also observed in Torobin Katsuyama-mage, a type of Katsuyama, and Torobin Yoko-hyogo, a type of Hyogo.

일본 근대 메이지기 인쇄 미술에 나타난 현모양처 이미지

이성례(Lee Sungrye) 한국근현대미술사학회 2010 한국근현대미술사학 Vol.21 No.-

The Meiji Period of Japan can be said to have been a transition period with regard to the formation of the image of modern women. While a modern nation state was being formed, the importance of the education of the next generation was stressed, and the role expected of women may be summarized as that of a “wise mother.” In the mid-Meiji Period and thereafter, when the concept of a modern family first appeared and took root, women were expected to play the role of a “good wife” who strives to maintain the happiness of the family and sacrifices herself for the family. The image of a wise mother and a good wife was formed in step with the rise of nationalism. Such expectations regarding women’s role in society were confined to that of a woman as a mother and housewife rather than any more general role. Images of a wise mother and good wife can be found in diverse forms in the visual culture of the Meiji Period, particularly in connection with the role of printed art, which was recognized as a category of fine art in modern times, of spreading modernism as art that made a foray into people’s everyday lives. It should also be borne in mind that Ukiyo-e (浮世繪), a genre of Japanese woodblock prints that spread among ordinary people during the Edo Period, produced a large quantity of images of women at home, particularly mothers. The media used to express the image of a wise mother and good wife differed from period to period. During the early Meiji Period, Nishiki-e (錦繪) was mainly used. Nishiki-e inherited the tradition of the visual media of the Edo Period and displayed modernity in the universalization and popularization of art. During the late-Meiji Period, lithography was hailed as a new media for visual reproduction.

한·일 전통복식에 나타난 청색의 고유성 연구

이경희,이은주 한국의류산업학회 2003 한국의류산업학회지 Vol.5 No.1

The purpose of this study was to investigate the characteristics of traditional blue color between Korean and Japanese traditional costumes. Korea and Japan as the neighboring country of geographically and historically, but showed obvious difference in traditional color. In this study we investigated the blue color characteristics that appear on Korean and Japanese traditional costumes. We researched the characteristics of blue color on color names and color tones through the old Korean and Japanese literatures, costume remains and restoration dyeing fabrics. The study researched the Chosun Period in Korea and Edo Period in Japan. The results of this study were as following; Many differentiation colors appeared in Chosun and Edo period than former ages. These differentiation colors were made giving differences gradually in basic color, he, value and chroma. The blue color names appeared 40 names in Chosun Period and 57 names in Edo Period. In these blue color names of Chosun and Edo Period, the common color name was not more 'indigo'. The most highly appearanced blue color hues of costume remains in Chosun and restoration dyeing fabrics in Edo Period were blue and purplish blue. The most highly appearanced blue color tones were dull and moderate. By result of proceding descriptions, the characteristics of national color were not come from difference of dye and dyeing method, could know that come from difference of society and cultural environment.

조선시대와 에도시대 기생의 화장 문화에 나타난 조형성 분석

박인애(In-Ae Park),전현진(Hyun Jin Jeon) 한국인체미용예술학회 2018 한국인체미용예술학회지 Vol.19 No.3

This study comparatively analyzed the formative aspects of makeup techniques in the cosmetology culture of gisaeng (Korean geisha), who led the cultural trends during the Joseon and Edo periods. In terms of the scope of this study, it was assumed that the grounds for the history of cosmetology culture were formed during the Joseon and Edo eras. Specifically, the Joseon period was limited to from the time of the first king, Taejo (1392), to the 25th king, Cheoljong (1863), while the period from the 1st shogun, Tokugawa Ieyasu, to the 15th shogun, Tokugawa Yoshinobu, was covered for the Edo era. The analysis of makeup techniques during both periods based on a general theory of formality found the following: In terms of shape, thin crescent eyebrows and lips and small and round lips were found in Joseon while almost straight-lined arched eyebrows and small and unnaturally rounded lips were found in the Edo period. In terms of color, rouge and red lips were found in both countries. Specifically, a style known as sasa-iro beni (bamboo grass red) was applied to the lower lip in green based on a metallic green beetle. In addition, a unique makeup technique called ‘heukchi’ was used to create the color black. In both countries, the eyebrows were expressed in black and a whitened face was created. In terms of texture, a natural and fuzzy texture was expressed with powder in Joseon while the face was painted with white makeup, creating a dry texture, during the Edo period.

에도시대 여자 머리장신구 특성에 관한 연구

임린,김은정 한복문화학회 2022 韓服文化 Vol.25 No.1

This study analyzed the sociocultural meaning and characteristics of various women's hair accessories decorated in hair bun(髷) of the Edo period according to the classification of types. The development of women's hair accessories in the Edo period was related to the development of Kabuki fashion, brothel, and the development of the publishing industry due to the expansion of educated people and the pursuit of pleasure according to social and cultural material abundance. Also, it was accelerated through the Sankin-kōtai(参勤交代制). Hair accessories in the Edo period were divided into four types, headband ornaments, combs and hairpins, symbol ornaments, and auxiliary ornaments. In addition, the characteristics of four types were analyzed. The detailed research results are as follows. First, hair bun accessories were broadly classified into Motoyui(元結) and headdress cloth. In the early Edo period, Motoyui, a paper material, was used for economy and practicality for tieing hair buns. Later, gold and silver foil papers were used, and Emotoyui(絵元結) was developed, and colorful headdress fabrics made of crape(縮緬) were used. Second, as the combs and hairpins became diversified and materials became luxurious, the form became more prominent, and the style became splendid. Kushi(櫛) developed into a thick, large comb called Okushi. There is a primary type of hairpin, Kogai, and Kanzashi includes Hanakushi and Bira-bira kanzashi. Third, it was considered that the symbolic ornaments revealed the status of the Edo period. Hirabitai(平額) worn by women in the royal family and royal family is typical, and there were Ichidome(位置止) and Kanokodome(鹿の子止), which were worn by Geisha and became popular. Fourth, as an auxiliary ornament, Kamoji(髢) means a wig, and it was seen that it plays a decorative role to enlarge and enhance the image.

에도시대[江戶時代] 朝鮮 繪畵의 收藏과 鑑評

박은순(Park, Eunsoon) 한국미술사교육학회 2020 美術史學 Vol.- No.40

이번 연구는 한일 회화교류에 대한 연속적인 2차 연도 연구 중 두 번째 논문으로서 에도시대 19세기 중 일본과 조선의 회화 교류와 소통의 양상을 고찰한 것이다. 본 연구에서는 『增訂古畵備考』 중 50권과 51권에 수록된 「高麗朝鮮書畵傳」(이하 서화전이라 함.)을 중심으로 19세기 일본에서 유통되던 한국 서화의 정보와 이에 대한 일본인의 인식 및 평가 등을 검토하였다. 본고에서는 특히 일본의 상황과 조건을 전제로 한일 회화교류의 문제를 접근하는 방법론을 시도하였다. 이러한 방법론을 통해서 한국 측의 입장과 시각을 강조하여 온 그간의 연구를 넘어서 한일회화교류 연구에 새로운 시각을 더하고자 하였다. 먼저 서화전에 수록된 고려와 조선 회화 관련 자료를 중심으로 수록된 주요한 작품과 기록을 제공하거나 수장한 일본의 수장가 및 수장처를 발췌하여 1. 가노파 인사, 2. 개인 수장가, 3. 다이묘, 4. 사찰, 5. 출판물 등 다섯 가지 유형으로 나누어 정리하였다. 이를 통해서 에도지역에서 활동하던 서화전의 著者가 한국 관련 자료를 광범위하게 수집하였고, 다양한 계층의 인사들을 접촉하였으며, 에도 뿐 아니라 조선과의 교류가 많았던 지역이나 수장처의 자료를 적극적으로 수집한 것을 확인하였다. 서화전의 저자가 가노파[狩野派]와 긴밀한 관계를 가졌던 배경에서인지 수장가 및 수장처의 경우에도 가노파와 관련된 사례가 많았다. 개인 수장가의 경우에는 原本 『古畵備考』의 정보 제공자들 중 주요한 인사들이 서화전의 정보 제공자, 또는 수장가로서 인용되었지만, 이외에도 다양한 개인들이 인용되었다. 조선과의 교류가 많았던 지방의 다이묘들과 에도 및 지방의 여러 사찰들도 주요한 수장가 및 수장처 역할을 하였다. 다이묘와 사찰의 수장품들은 작품의 수준이나 중요도 면에서 주목할 만한 경우가 있었다. 다음으로 한국 회화의 작가, 국적, 화풍, 진위 등을 거론한 감평을 두 가지 유형으로 구분하고, 대표적인 사례를 고찰하면서 감평의 양상과 특징을 정리하였다. 감평의 경우에도 가노파 관련 인사 및 수장가의 의견을 인용한 사례들이 상대적으로 많았다. 작가나 국적, 화풍에 대한 서화전 저자의 의견이 인용된 기존의 견해와 다를 경우에는 기존의 의견과 저자의 의견을 함께 수록하여 감평의 객관성을 확보하였다. 저자는 화풍이나 기법 뿐 아니라 관서의 서체, 도장의 진위 문제 등도 거론하면서 본격적인 감정을 하기도 하였다. 에도시대에 유행한 古畵趣味를 배경으로 숙련된 감식안과 기준을 가졌던 서화전의 저자는 한국 관련 서화 정보를 발췌하고 작품을 평가, 감정하는 데 있어서 전문가로서의 기량을 발휘하였다. 그럼에도 불구하고 서화전에 수록된 작가, 국적, 화풍 등에 대한 논의를 현재의 시점에서 분석하여 보면 때로는 잘못된 판단과 불충분한 정보를 제시한 경우들도 있다. 이러한 사례들은 에도시대 19세기 중 한국회화에 대한 정보와 지식의 상황을 시사하고 있으며, 이는 곧 서화전의 특징인 동시에 한계라고 할 수 있다. 한국 서화에 대한 서화전의 정보를 인용하거나 활용하려는 경우 서화전이 가지는 이와 같은 특징을 감안하여 비판적으로 접근하여야 할 것이다. This research is second in series of a research on the cultural exchange of paintings between Korea and Japan. The purpose of this research is to identify the details of cultural exchange and communication that took place during the Edo period. Firstly, the study is based upon “the Records on the calligraphy and painting of Goryo and Joseon periods”, included in Vol. 50 and Vol. 51 of The Revisied Version of the Records on Old Paintings 『增訂古畵備考』. It focuses on information and reputation of painting and calligraphy of Joseon in the 19th century Japan. “The records on the calligraphy and painting of Goryo and Joseon periods” includes calligraphy and paintings of Goryo and Joseon, or records of them and representative collectors and collections of Japan, suggested and organized in the following categories; 1. Gano school members, 2. Personal collectors, 3. Daimyos 4. Temples, 5. Publications. It was possible to identify the fact that the author, who’s active mainly in Edo, collected a wide variety of materials related to Korea, contacted with people of diverse classes, and actively gathered materials from regions or collections that made frequent connections with Joseon. Furthermore, possibly owing to the fact that the author of “the records on the calligraphy and painting of Koryo and Joseon periods” made intimate realtionships with the Gano school, collections and collectors were often linked to the Gano school. Some private collectors were overlapped with information providers of the original The Notes of Old Paintings 『古畵備考』. Some daimyos of regions that had frequent relationships with Joseon took the role of collectors at the same time. Various temples provided important collections as well. These collections or collectors were worthy of notice in terms of importance or quality. Secondly, criticisms on the artist, nationality, painting style, authenticity of Korean calligraphy and paintings were classified into two categories. Their aspects and characteristics are suggested upon analysis of representative cases. Opinions of Gano School personnels were also referenced often in criticism on paintings. The author’s opinion was suggested along with ideas of other critics, in order to secure objectivity. The calligraphic characteristic of a sign and the authenticity of a seal were also a subject of discussion in some cases of these criticisms. The author of “the records on the calligraphy and painting of Goryo and Joseon periods”, who had a sophisticated standard of criticism on paintings owing to the trend of tasting old paintings during the Edo period. He was able to perform professional criticism upon evaluation and appraisal of paintings and calligraphy related to Korea. However, some of the included discussions seem misjudged to the perspective of present standards. Moreover, some cases of criticism seems to be inadequately supported as well. This means the limitation of information and knowledge in the 19th century Edo period and at the same time can be regarded as a characteristic of “the records on the calligraphy and painting of Goryo and Joseon periods”. When one refers the information on Korean paintings and calligraphy included in “the records on the calligraphy and painting of Koryo and Joseon periods”, it is important to take notice of this limitation and characteristic.

에도 시대 일본 마취술의 형성과 분기: 내복 마취제의 처방을 중심으로

이규원 연세대학교 의학사연구소 2022 연세의사학 Vol.25 No.1

This paper examines the formation and development of Japanese anesthesia in the Edo period, focusing on the prescription of oral anesthetics shown in major medical books, especially the use of Datura and Aconitum. First, the flow of traditional Chinese anesthesia is discussed, and the changes in Japanese anesthesia inheriting the tradition are tracked until the end of the Edo period. From the Tang Dynasty to the Ming Dynasty, Chinese anesthesia continued to change concerning the use of Aconitum and Datura. During the Edo period, Japanese anesthesia began with the introduction of Chinese anesthesia, but developed independently by absorbing surgical knowledge originating from the West. On this foundation, Hanaoka Seishū succeeded in performing the world’s first surgical operation under general anesthesia, and from that point on, anesthesia in osteotomy and surgical anesthesia diverged. The traditionality and innovativeness of Japanese anesthesia presented in this paper were to project the universal characteristics of Japanese medicine in the late Edo period, which were formed by absorbing Western medicine into the tradition of oriental medicine.