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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2015.6
- 수록면
- 111 - 130 (20page)
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초록· 키워드
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Sipjangsaeng refers to the ten symbols of longevity, i.e. the Sun, stone, water, cloud, pine trees, deer, bullocho (herb of immortality), turtles, cranes, and peaches. Embroidery of the ten symbols of longevity is based on people’s wishes for, and concept of, longevity, and local folk beliefs mixed with Chinese’belief in deities. This study entailed a comprehensive analysis of the use of embroidered sipjangsaeng figures, the related embroidery techniques, and changes in their forms and shapes.
Embroidered sipjangsaengfigures can be divided into four types. Examples of the first, oldest type exhibit simplistic yet realistic expressions. The second type replaced the preceding one with more complicated compositions and exaggerated expressions. The third type was initially produced along with the first and was influenced by the sipjangsaeng motifs used at the royal court. This type displayed more complicated compositions made using more diverse techniques in later years. The fourth and final type was used mostly in household goods such as fabric pockets and pillow covers.
With regard to the differences between royal court-based embroidery and folk painting-based embroidery featuring sipjangsaeng motifs, the former commonly usedpatterns on royal attire and certain parts of royal court paintings between the early 19th century and the early 20th century. Rough sketches of royal court embroideries were made by painters belonging to the Dohwaseo (Royal Bureau of Painting), and it appears that the motifs on royal court attire and royal court painting patterns were transferred to embroidered sipjangsaeng. Folk paintings, which were popular in the late 19th century, also influenced the embroidery of sipjangsaeng motifs.
Other factors which point to the differences between royal court-based embroidery and folk painting-based embroidery include the types and sizes of folding screens and the materials used, and their degree of elegance. Towards the end of the Joseon Dynasty, which was plagued by political turmoil, the difference between the two types of embroidery gradually disappeared.
It is to be hoped that embroidery will one day come to be regarded as an essential part of the country’s traditional art and, as such, to be worthy of in-depth research so that it may be properly understood and utilized.
Embroidered sipjangsaengfigures can be divided into four types. Examples of the first, oldest type exhibit simplistic yet realistic expressions. The second type replaced the preceding one with more complicated compositions and exaggerated expressions. The third type was initially produced along with the first and was influenced by the sipjangsaeng motifs used at the royal court. This type displayed more complicated compositions made using more diverse techniques in later years. The fourth and final type was used mostly in household goods such as fabric pockets and pillow covers.
With regard to the differences between royal court-based embroidery and folk painting-based embroidery featuring sipjangsaeng motifs, the former commonly usedpatterns on royal attire and certain parts of royal court paintings between the early 19th century and the early 20th century. Rough sketches of royal court embroideries were made by painters belonging to the Dohwaseo (Royal Bureau of Painting), and it appears that the motifs on royal court attire and royal court painting patterns were transferred to embroidered sipjangsaeng. Folk paintings, which were popular in the late 19th century, also influenced the embroidery of sipjangsaeng motifs.
Other factors which point to the differences between royal court-based embroidery and folk painting-based embroidery include the types and sizes of folding screens and the materials used, and their degree of elegance. Towards the end of the Joseon Dynasty, which was plagued by political turmoil, the difference between the two types of embroidery gradually disappeared.
It is to be hoped that embroidery will one day come to be regarded as an essential part of the country’s traditional art and, as such, to be worthy of in-depth research so that it may be properly understood and utilized.
목차
Abstract
Ⅰ. 서론
Ⅱ. 조선후기 자수 십장생도의 용례
Ⅲ. 조선후기 자수 십장생도의 소재와 자수기법
Ⅳ. 조선후기 자수 십장생도의 유형
Ⅴ. 조선후기 자수 십장생도의 변모 양상
Ⅵ. 결론
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