• Title/Summary/Keyword: 민속풍

Search Result 6, Processing Time 0.022 seconds

The Ethnic Look Featured on Vivienne Tam's Collection from 1996 to 2005 (비비안 탐의 디자인에 나타난 민속풍에 관한 연구 - 1990년에서 2005년의 컬렉션을 중심으로 -)

  • Ro, Mi-Kyung;Kim, Chan-Ju
    • Journal of the Korean Society of Costume
    • /
    • v.58 no.6
    • /
    • pp.145-157
    • /
    • 2008
  • Vivienne Tam was born in mainland China and educated in Hong Kong and has worked mainly in New York. Within multi-cultural background, she has shown unique fashion designs where western styles and China esprit were harmonized.. This study analyzed the ethnic look featured on Vivienne Tam's design to identify how she has expressed her ethnic identity into fashion. Photos featuring ethnic appeal among her New York collection from 1996 S/S to 2005 F/W were analyzed in terms of shape/silhouette, color, fabric, motifs, detail and accessaries. She utilized frequently chinese motifs and patterns such as bamboo, panda, budha, flowers, letters, and masks. Secondly she modified the shapes of Chinese traditional costume like Quipao to render ethnic appeal. Color, fabric and detail like frog and embroidery also contributed to enhance China mood. Comparatively, she used western clothing items including shirts, blouses, skirts, pants, dresses, and coats and maintained the silhouette tight and fit so that most her designs look wearable and westernized.

예술.문화 - 강릉 서지마을 질밥과 씨종지떡

  • Kim, Sun-Gyeong
    • 식품문화 한맛한얼
    • /
    • v.1 no.2
    • /
    • pp.123-125
    • /
    • 2008
  • 1천년 문화유산을 간직하고 있는 강릉(江陵)은 태백준령에서 흘러내리는 맑은 하천이 수놓은 기름진 들녘과 수자원이 풍성한 동해바다를 거느리고 있어 음식문화 또한 다채롭다. 날로 먹어도 꺼릴 것이 없는 청정한 해산물과 반가에 전래해오는 전통한식, 사천 한과를 비롯한 서지마을 질밥과 씨종지떡 등 고유한 민속음식들이 유구한 경지를 자랑한다.

  • PDF

The Study on the Structure and Meaning of UlsanSoeburisoree (울산쇠부리소리의 민속연행적 구조와 의미 연구)

  • Sim, Sang-Gyo
    • (The) Research of the performance art and culture
    • /
    • no.37
    • /
    • pp.127-155
    • /
    • 2018
  • This paper considers the structure and meaning of the folktale accompaniment of the sound of UlsanSoeburisoree. The review process examined the meaning of each structure of the UlsanSoeburisoree in the preparation process while preparing the main elements of the structural features along with the historical background of the structure. UlsanSoeburisoree is Poongcheol ritual ceremony which means prayer ceremony for the production of iron. The sound of UlsanSoeburisoree is 1-Gilnori 2-Gosa 3-The sound of blowing smelting process 4-The sound of process of iron smelting 5-The sound of tabooline 6-The sound of blowing smelting process 7-The sound of blowing matches 8-The After-party. This structure is in line with the structure of folk play called Gilnory-Gosa-Performance-After-party. This is similar to the basic structure of folk beliefs Cheongsin(請神)-Osin(娛神)-Songsin(送神). Thus, the sound of UlsanSoeburisoree was formulated in a sequential parallel structure. The sound of UlsanSoeburisoree resemble the sacrifice of heaven ceremony since the time of the SamHan dynasty. The sound of the birth of life by physical sacrifice also plays the role of the song of creation of new life. The sound of UlsanSoeburisoree can be seen not only in Korea 's folk culture but also in folk culture of GyeongnamDo area. There are many festivals to pray for the abundance of life for UlsanSoeburisoree. Soil plays an absolute role in the process of producing iron. For those who soak it, the earth is a religious object. Among the folk tales handed down in the Yeongnam area, there are a lot of performances that are passed down through the blending of the people 's affection to overcome the harshness of life. In the case of the sound of UlsanSoeburisoree, it can be said that it was made and mixed with the wind that wanted to go beyond the harshness of life and the spirit of art.

Influence of the 1960s Anti-Fashion on the Ethnic Fashion (1960년대 저항 패션이 민속풍 패션에 미친 영향)

  • 간문자
    • Journal of the Korean Society of Costume
    • /
    • v.30
    • /
    • pp.153-166
    • /
    • 1996
  • The purpose of this paper is to examine the Ethnic Fashion which is influenced by the Anti-Fashion in 1960s. Anti-Fashion as Hippie style had an effect on high fashion in the 60s-70s and which was restored in the early 90s are ethnic and folk-lore style. The influence that the Anti-Fashion has had on the Ethnic Fashion is summarized as follows. At the Ethnic Fashion in 60s-70s: First Europian romantic style that is velvet doublet breecheese race cuffs ruffle flounce race jabbot embrioderd blouse frilled blouse Victorian mode and Pre-Raphaello style. Second handicraft ornaments style & peasant style what are embroidery weaving variaty ornaments tie-dye patch work smocking beads & bell paisely print peasant blouse dundle skirt long skirt to clinging layered look floral print dress and shepherd-ness style. Third folklore style that is Oriental mao-suit harem pants & Indian pants caftan monk robe Afgan vest burnoos dhoti pants Hindu robe Red Indian fringe head band feather ornaments Red indian embroidery & weaving body painting gaucho poncho and serapi. At the Ethnic Fashion in 90s.: First Europian classical romantic style that is Victorian style Pre-Raphaello style ruffle & race decorations and velvet materials. Second peasant look& handicraft orna-ments what are floral print long skirt to cling-ing uneven stitches top stitchings patch work embroidery crochet and tie-dye. Third folklore style that is Red Indian style South East mode is sarong skirt & Nheru jacket Tibet & Mongolian style South America style and gypso style.

  • PDF

A Study on Ethnic look Expressed in Modern Fashion (현대 패션에 나타난 민속풍(Ethnic look)에 관한 연구)

  • 정연자
    • Journal of the Korean Home Economics Association
    • /
    • v.31 no.4
    • /
    • pp.215-229
    • /
    • 1993
  • As a result of making an inquiry into the ethnic look of each region appearing in present-day fashion by Asia. America and Oceania. Africa and Europe as mentioned above, its characteristics could be summarized as follows: Firstly the Asian ethnic look consists of Indian, Chinese and Japanese looks as mainstream. In terms of form, the draped form constituted its mainstream, and both the draped form and the tunic form are appearing Simultaneously in the Chinese look. And in respect to color the Indian look is using luxurious primary colors red, blue, yellow and green and other regions are making overall use of natural colors. With respect to ornament various kinds of ornaments is utilized in Indian's Sari and turban. Chines's Coolie hat, straw hat and embroidery, knotted button, and bead ornament, and Japan's Obi and Obijime, etc. Secondly in America and Oceania, costurme representing the Indian look in North America and the picture of Western pioneer, and the Peruvian, Mexican and chilean ethnic looks in South America were expressing much. Here, the form consistied a draped form as its main strem, such colors as yellow, purple, grey, etc were much utilized, and the material of costume comprised knits, cotton and the like. And the ornament consisted of hats, tassel ornaments, bead ornaments, metal chain belt, long braided hair, etc. Thirdly, the African ethnic look had an exposing form and a draped form, and such colors as black, white, yellow, brown, etc were used as the fashion color. Ornaments such as precious stone, bead ornaments, animal bones, straw metal ornament, etc were used as fashion decorations. Fourthly, Russia's Cossack look, Bulgaria's Bavshika look, spain's ethnic look cane to the fore as the European look Both the draped form and the tunic form were used simultaneously as fashion form. And grey, brown, purple, etc were much used as fashion color in the European look. Such ornaments as Cossack. Bavshka, boots, tassel ornaments were much used and paisley pattern also was used.

  • PDF

Ethnobotany of Hallyeo-Haesang National Park and Its Adjacent Regions, South Korea (한려해상국립공원 일대의 민속식물)

  • Kim, Hyun-Jun;Kang, Shin-Ho
    • Korean Journal of Plant Resources
    • /
    • v.29 no.1
    • /
    • pp.46-61
    • /
    • 2016
  • The ethnobotanical study was conducted to record and conserve the traditional knowledge of botanical taxa in Hallyeo-Haesang National Park area, S. Korea from 2012 to 2013. According to the survey results, derived from 1,430 sheets of 183 residents at 70 places, the ethnobotanical plants in Hallyeo-Haesang National Park area consisted of a total 247 taxa; 82 families, 197 genera, 224 species, 3 subspecies, 19 varieties and 1 form. The analysis of usage for 247 taxa showed that the edible use was the highest with 166 taxa, followed by medicinal with 138 taxa, craft with 27 taxa, material with 16 taxa and ritual with 9 taxa respectively. The leaf of plant was the most useful part, followed by stem and fruit plant. Quantitative analysis of the ethnobotanical plants in Hallyeo-Haesang National Park area was performed by the basic values of FC, NU and UR, and indices of CI, RFC, RI and CV. As a result, The CI places Artemisia princeps in the first position, followed by Pueraria lobata, Taraxacum platycarpum. The RFC place A. princeps in first position, followed by Achyranthes japonica, Aster scaber. The RI places A. princeps in the first position, followed by P. lobata, Pinus densiflora. The CV places A. princeps in the first position, followed by P. lobata, A. japonica. Farfugium japonicum had been used as specific ethnobotanical plant in this area, for arthralgia, postpartum arthrodynia, circulatory disturbance.