朝鮮時代 妓生의 머리모양 再現에 關한 硏究

Abstract

This paper is to study the change of hair style worn by the gisaengs(Korean geishas) in Joseon Dynasty for the initial days to the enlightenment days. It also contains the procedure to select the typical hair styles of each age, to reproduce them and to present them. The reason why the Joseon gisaengs were chosen for the modernization of the classical hair style was that their hair style was that of lower class people but suffered diverse changes during the period. The classical hair style was always led by the change of the noble class. The style changed on and on till the end of the dynasty according to what people's country came into China. Meanwhile, the data says the lower class women were so traditional and conservative that they maintained the eonjeun meori(hair) in the tomb paintings of Goguryeo till the late Joseon Dynasty. It is often called the double structure of the classical hair in the costume history. Despite of it, the hair style of gisaengs who belonged to the lower class was the exception. Their hair style changed whenever the social condition changed from the early days. The changing period can roughly be divided into 5 stages. For the theoretical validity of the study, the historical backgrounds and the variation of hair style of the five stages were first investigated in the documents. Along with it, to satisfy the condition of reproduction work, a piece of model was selected for each stage and was reproduced. For the early Joseon which is usually called 'the period of Goryeo End and Joseon Start,' a Goryeo woman who had sent as a tribute and returned from China during the Yuan Dynasty was selected. This woman was found in a wall painting of the Yuan. She was chosen because she was a gisaeng in the Yuan. Next, an official gisaeng was selected to reproduce the formulated hair style of the official gisaeng. For the later period, the tre meori was selected from the folk paintings of Hongdo Kim and Yunbok Shin. The tre meori of the gisaengs who performed the palace dances was selected for the end era, and the jjok meori at the back head for the enlightenment era. Despite that there was the gache(wig) prohibition law in the later era of the Joseon, the gisaengs maintained their own hair style. It was because they had worked in the free environment even if they were lower class people and because their customers, that is, the noble and the royal gave them the protection and the tolerance. Whether the change was intentional or not, it eventually caused the disperse of the fashion, inciting and influencing on other classes of the society. The typical costume was to wear the jeogori(jacket) as short as the breasts could be seen or to tie the skirt tightly. Many noble women and other lower-class women would follow their style. Some Confucian scholars left the writings in their books to lament this social atmosphere. The second important thing in the documentary work was the understanding of the images. With a lot of painting data, the author tried to equip the viewpoint on the classical beauty and the reproduction method. The reproduced works were photographed from their front, back, left and right after their completion. In addition, some important operational scenes were also photographed and presented. As purposed first, this study showed the whole processes from the documentary work to the validity presentation, the image cultivation and the reproduction.