조선시대 체산자(砌山子)에 대한 연구 (A Study on Chesanja(Qìshānzǐ, The Looping stitch) of Joseon Dynasty)

서지정보

· 발행기관 : 한국복식학회
· 수록지 정보 : 복식 / 66권 / 7호 / 89 ~ 108페이지
· 저자명 : 양수정

초록

The purpose of this study is to trace the examples of ‘Chesanja’ from records and artifacts and to restore the terminology of the lost traditional Joseon embroidery technique. ‘Chesanja’ came on Mongolia and Yuan period affected embroidery techniques of the neighboring countries. Therefore, this study will focus on investigate the process of changing ‘Chesanja’ into Guya(Goya) through 《Barktonsa》the foreign language transcriptions of the Chosun dynasty, and examine the generation, fashion, and destruction of this technique with the social technical usage. Around the 16th century of the Joseon Dynasty, ‘Chesanja’ had been actively used as a decorative techniques to dairy products as well as a Buddhist memorial goods embroidered. Accordingly, in the 『Beonnyeok-Baktongsa』(1515) appeared together written records with ‘Chesanja’ 'Gwiyeo[귀여]' the Eonhae(Korean annotation) only had emerged in the Joseon Dynasty. It was still a technique to decorate the edges of royal pillow in the mid-17th century. And we have checked from the text 『Baktongsaeonhae』(1677) also. Despite this by the mid-18th century, the term in 『Baktongsa-sinseok』(1765) and『Baktongsa-sinseok-eonhae』(1765) had disappeared. This phenomenon can be mentioned to be the possibility that The production and utilization of ‘Chesanja’ required the complexity as high-quality technology for high rank had been disappeared with being preferred techniques which focus on the gradation by colourful threads in social preference. Therefore, ‘Chesanja’ and 'Gwiyeo[귀여]' had disappeared from the texts but be found from the artifacts of the royal family. So calls Guya(Goya) and exists as unique technic only in the royal family.

영어초록

The purpose of this study is to trace the examples of ‘Chesanja’ from records and artifacts and to restore the terminology of the lost traditional Joseon embroidery technique. ‘Chesanja’ came on Mongolia and Yuan period affected embroidery techniques of the neighboring countries. Therefore, this study will focus on investigate the process of changing ‘Chesanja’ into Guya(Goya) through 《Barktonsa》the foreign language transcriptions of the Chosun dynasty, and examine the generation, fashion, and destruction of this technique with the social technical usage. Around the 16th century of the Joseon Dynasty, ‘Chesanja’ had been actively used as a decorative techniques to dairy products as well as a Buddhist memorial goods embroidered. Accordingly, in the 『Beonnyeok-Baktongsa』(1515) appeared together written records with ‘Chesanja’ 'Gwiyeo[귀여]' the Eonhae(Korean annotation) only had emerged in the Joseon Dynasty. It was still a technique to decorate the edges of royal pillow in the mid-17th century. And we have checked from the text 『Baktongsaeonhae』(1677) also. Despite this by the mid-18th century, the term in 『Baktongsa-sinseok』(1765) and『Baktongsa-sinseok-eonhae』(1765) had disappeared. This phenomenon can be mentioned to be the possibility that The production and utilization of ‘Chesanja’ required the complexity as high-quality technology for high rank had been disappeared with being preferred techniques which focus on the gradation by colourful threads in social preference. Therefore, ‘Chesanja’ and 'Gwiyeo[귀여]' had disappeared from the texts but be found from the artifacts of the royal family. So calls Guya(Goya) and exists as unique technic only in the royal family.

참고자료

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