조선시대 친잠례(親蠶禮) 및 친잠례의 화장과 치장에 관한 연구(硏究)

Abstract

So called Fashion show, a feast-like presentation of humans closest environment worn right next to the skin, has official record of its first appearance in Korea in contemporary sense as early as in Autumn of the 1956, at Bando Hotel, Seoul. If you look closer, however, rituals organized by Chosun Dynasty could well fall into the category of Fashion show or at least Fashion Parade, in terms of its grandeur and magnitudes. Within those rituals, were Chin Jam Rae, or Silk Ceremony led by Queen, which contained all the elements necessary for modern Fashion Show ; Costumes, stage, models, make-up, accessories, props, places, music, time and spectators. In every sense, Chin Jam Rae can be described as the first Fashion Show in Korean history. The researcher decided to study further on this fashionable ritual led by Chosen Queen, by undergoing literature review of the Chosen Dynasty publications containing records of the ritual and the costumes including ornamentations and procedure, and studying research materials written on the ceremony. During the process of the study, the researcher found that there is a great need for Chin Jam Rae to be researched further and in a systematical manner for there is not enough study materials on the subject. The researcher then decided to concentrate on the structure of the Chin Jam Rae, as the first public fashion show and make-up style of it, as a way of expression of traditional sense of beauty and spirit of Chosun Kingdom. Chin Jam Rae is a national ritual ceremony took place within the Palace, participated by the Queen, her closest relatives and aides to promote silk industry and encourage farmers. As the ceremony was led by the Queen, all the participants were women. Everyone in the group, including the Queen, wore national ritual robes dignifying their ranks and virtue and of highest quality. Accompanying hair accessories, make-up and ornaments were also most luxurious and sophisticated ones matching the occasion. Chapter II of this theses describes the origins, meaning, and changing stages of Chin Jam Rae from Chosun Dynasty to modern times. Chapter III depicts make-up and hair ornaments and styles used in Chin Jam Rae which apparently showcased greatest technique and materials of the time for the Queen. It is also assumed from the study that all the make-ups and hairdos were done by Su-mo, a position within the Palace, who can be called as make-up artists and hair stylists. For the Style of make-up, it is assumed that Eung Jung, a heavy and strong make-up used also for wedding day, was the style of the make-up for the Queen at Chin Jam Rae. As for the hair-style, it was written that Kun Meori (Big Hairdo with ceremonial hairpins and ornaments) and Eu-yo Meori (Also Big Hairdo using wooden support and ornamental hairpins) were mainly used. As for the accessories, silver and gold buttons, waist band ornaments using silk knots and jades, rings and eye-rings were used along with variety of hair ornaments such as Bi Nyeo (long and thin metal hair pin) and Hwa Kwan (flower crown). In Chapter IV, the researcher attempted to adopt the structure of Chin Jam Rae as a modern fashion event so that the Ceremony can be enjoyed by more people. In Chapter V, the researcher concludes that Chin Jam Rae was not only a event for women emphasizing beauty and virtue but also a national event of great dignity and importance to promote value of tradition and national economy. The researcher suggests in this Chapter that Chin Jam Rae can be served as a vehicle to remind Koreans of the beauty and magnitude of the Korean tradition and spirit. As a practical way of achieving this, the researcher maintains that Chin Jam Rae should be revived as a national wide cultural festival. Then Chin Jam Rae should be considered for inclusion as Major Intangible Cultural Asset by the Korean Government.