玄僖運은 過渡期的 近代劇의 創始者인 동시에 조선 최초의 화장품 연구소였던 京城美容院의 원장이기도 했다. 그는 <香痕>, <婦人>, <衛生과化粧>이라는 세 女性雜誌를 주도하면서 化粧을 近代 女性敎養의 핵심적인 價値로 정립하고자 노력했다. 이에 본고는 玄僖運이 세 잡지에 寄稿했던 여러 가지 글을 바탕으로, 그가 近代敎養의 중요한 과제로 화장을 呼出하고자 했던 根據를 조명하고자 한다. 여기에는 衛生이라는 近代的 ‘몸’ 談論으로부터, 아름다움을 가꾸는 문제를 보다 獨立的인 敎養의 영역으로 만들고자 했던 그의 意志가 담겨 있다. 이는 近代健康談論 안에서 化粧의 價値를 주목하고자 하는 積極的인 試圖로서 評價될 수 있다. 특히 그는 化粧品을 近代科學의 산물로 여겼고, 더 나아가 그 藝術的 價値에 주목하였다. 이에 본고는 화장이라는 近代的 外裝을 近代的 敎養談論의 하나로 만들고자 했던 현희운의 意志와 限界를 고찰하고, 近代美容의 先驅者로서 그의 의미를 再定立하고자 했다.

Hyeon Hui-un(玄僖運) was not only valued as a founder of a transitional modern drama, but a director of Kyeong-seong Beauty Parlor[京城美容院] which was the first research institute of cosmetics in Joseon. He had taken the lead three women’s magazine; Trace of Perfume(香痕), Madam(婦人), Hygiene and Makeup(衛生과化粧), and he had tried to build makeup as fundamental value of modern cultural discourse. This thesis intends to illuminate why he had called a Makeup as modern liberal assignment through analyzed his writing in three magazines. There were filled with his will to change matter of dressing up the outside from hygiene as modern bodily discourse to more independent territory of refinement in his articles. It could be rated as an enthusiastic attitude that paid attention value of makeup in modern health discourse. He recognized makeup, which dresses up and expresses beauty, as an essential element of modern social attitude. Especially he regarded cosmetics as modern scientific products, furthermore he paid attention to its artistic value. So this thesis examines Hyeon Hui-un's will and limit which had tried to make makeup, which was called by modern appearance, to one of modern cultural discourse.