朝鮮時代 文獻 속 女人들의 머리모양 再現을 通한 現代 업스타일 硏究

Abstract

This study is an attempt to reconstruct the Korean classical hair with the modern upstyle work. Its purpose is to modernize the classical one. If the classic can be developed into a new cultural element based on it rather than it is just known as a succession of the tradition, it will be very desirable in the futuristic aspect. This work has already started in diverse fields such as design, architecture and clothes and become a new cultural mind for a long time. In the beauty art, some scholars have tried such studies and received good responses. The related papers are still in production now. In this study, author selected some data on the classical hair styles with relatively detailed expressions and clear chronical characteristics. Based on them, the model was formed and the ancient style was reproduced. Then, with it the modernistic work was carried out and presented. The results of the reproduced work and the modernistic work were shown in the photos. The presentations were focused on the visual aspect. The most important theoretical point in this work was to secure the validity in selecting the data. While the criteria for the reproduction had been provided, it was not an easy thing at all to find out the reliable data to satisfy the criteria. The results of many searches on the pictorial and documentary data were the hairs of the royal concubines in the Buddhist paintings of early Joseon Dynasty, the legal wives in the portraits of early Joseon Dynasty, the noble ladies in the portraits of late Joseon Dynasty, the court ladies in Eunho Kim's painting book of late Joseon Dynasty and Chunhyang Seong the heroin of the noble <Story of Chunhyang>. Among them, Chunhyang was selected because the hair style of this famous traditional Korean woman used to be known as the daenggi hair in the movies and the dramas rather than the sayang hair in the document. In the part introducing the procedure to choose the characters, main documents and paintings were presented. Along with them, the reasons of selection and the focal points in the reproduction were also explained. As the result, the first intention to show the new modernized style of the woman by harmonizing the classical and modern beauties was fairly satisfied. As the reproduction was carried out in the condition that the traditional techniques were cut out, there were a lot of difficulties, but the reproduction and the modernization were accomplished as planned. The author hopes that this small work may be a good data and motive to activate the environment of beauty art.