This study aims to analyze the traditional embroidery in Korea, China and Japan based on Pierre Bourdieu’s cultural theory, habitus and field. We conducted literature and case studies examining the late Joseon Dynasty, Qing Dynasty, and Edo Period, respectively. Based on previous studies, we reviewed three fields: social systems, goods and economy, and environmental and regional. We also explored art, culture, and national tastes as habitus. We then examined each country’s embroidery practices through these lenses, and the practice of habitus is as follows. We determined that traditional Korean court embroidery in the late Joseon Dynasty was characterized as controlled elegance, while private embroidery reflected earnest simplicity. During the Qing Dynasty, traditional Chinese court embroidery depicted sumptuous power, while private embroidery portrayed harmonious splendor. Finally, traditional Japanese embroidery in the Edo period reflected symbolic natural beauty and exaggerated comic beauty. As a result, Korea, China, and Japan have had a relatively close geographical location and a similar climate environment zone, and since ancient times, many cultures have been exchanged with each other. However, it seems that the characteristics of traditional embroidery have developed slightly differently due to the practice of habitus, which was caused by of the conspiracy of field and habitus of the three countries. The significance of this study is expected to explain the relationship between the birth and extinction of costumes and embroidery by establishing a systematic and objective framework for aesthetics research.

A Beoseonbongip is a pouch that holds patterns for making Beoseons. This study aimed to identify the aesthetic and symbolic contents of the embroidery patterns by analyzing the kind, combination types, expression and arrangement types of patterns. In total, 140 Beoseonbongip artifacts, which were mostly made in the Joseon Dynasty, were quantitatively and qualitatively analyzed. The results indicated that about 83% of the total had flower patterns. Various kinds of embroidery patterns used for Beoseonbongips were newly identified. About 73% of the total had different kinds of patterns. Pattern combination types were identified by the kinds of patterns, the number of paired patterns, and the traditional painting styles used. The patterns of Beoseonbongips were expressed schematically more than realistically or abstractly. Beoseonbongips with different patterns on the four triangle tips of the front face and Beoseonbongips with the same/similar patterns on two opposite tips of the front face were observed more than the other types. On the back face, the embroidery patterns were symmetrically arranged, showing various division structures. It was inferred that wishes (e.g., marital harmony, fertility, good health and longevity, happiness, and wealth and fame) were expressed through the symbolic patterns embroidered on the Beoseonbongips. In terms of Korean traditional beauty, the union with nature, the harmony of yin and yang, symmetric balance, and neatness were also emphasized as a esthetic characteristics of Beoseonbongips.

문화상품이란 자국의 문화. 역사적 요소 및 자원이 시대적 조건에 맞는 심미적 요소와 첨단산업기술을 복합적으로 투입하여 경제적 부가가치를 창출하는 복합체를 말한다. 동시에 문화상품은 한 나라의 문화가 총체적으로 응집된 상품을 뜻하며, 고부가가치 창조형 산업이면서 자국문화의 고유성 및 특성을 살려 새로운 가치를 창출하는 과정에서 제작자의 전문성 및 창의력이 상품 경쟁력을 결정하는 지식창조형 산업이다. 따라서 어느 산업보다 첨단 소프트웨어 기술과 문화 창조능력이 요구되는 유망산업이라 할 수 있다. 그러나 현재 우리나라는 문화상품에 대한 국가정부의 인식순준은 높으나 민간자본의 협력관계를 조성하는 기반이 미흡하다. 전통자수는 우리의 사상과 미의식이 투영된 소중한 문화유산이며 차별성 있는 문화산업화로 국제경쟁력 시대에 대응해야 한다. 중국과 영국의 도자기, 일본의 칠기 등과 같이 우리의 전통 자수도 시대에 맞는 문화상품으로 개발하여 세계적으로 우수한 문화상품으로 발전되어야하겠다.