• 한국의류학회지
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• 제27권12호
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• pp.1397-1404
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• 2003

2002년 월드컵 전야제에서는 한국문화를 소개해 세계인의 환호를 받았는데 그 중에는 칠석동 민속축제인 고싸움놀이가 펼쳐졌다. 칠석동 민속축제는 일반 서민복식의 전통복 형태를 보여주는 복식(服飾)을 실제 착용하고 축제를 행하고 있으므로, 점차 사라져 가는 전통복식을 놀이문화를 통해 직접 확인할 수 있다는 점에서 연구가치를 갖는다. 본 연구의 목적은 국제화 시대에 우리 전통문화에 대한 정체성 확립을 위해 시대적 변화에 따라 변해 가는 민속복식을 무형문화재로 지정되어 있는 칠석동 고싸움놀이를 중심으로 시대적 흐름을 통한 고싸움놀이의 전수과정에서 형성되어 온 민속축제복식의 구성과 특성을 살펴보는데 있다. 연구방법은 광주지역인 광산구 칠석동 마을을 중심으로 자료조사와 현장조사를 병행하였다. 자료조사는 민속에 관련된 전공서적과 무형문화재 조사보고서, 행사팜플렛 등을 참고하였고, 현장조사는 고싸움 축제에 참가하여 복식 전반에 대한사진촬영과 마을축제 참여하는 마을사람들을 중심으로 축제복식에 관한 면담조사를 하였다. 칠석동 고싸움 축제복식은 행사가 진행되는 내용에 따라 크게 4가지로 분류할 수 있는데 본격적인 고싸움이 시작되기 전날 밤에 당산나무에 제를 지내는 당산제 복식, 마을의 평안과 고싸움의 흥을 돋우기 위한 농악복식, 고싸움이 시작되기 전에 아낙네들이 손과 손을 맞잡고 둥글게 돌며 화합을 다짐하는 강강수월래 복식, 한해 풍년을 기원하는 고싸움복식이 있다. 칠석동 고싸움 축제복식의 특성을 요약하면 다음과 같다. 첫째, 구성면에서는 농경제의(農耕祭衣)와 안택축원(安宅祝願的)을 기원하는 민속놀이축제복식으로 일상생활에 착용하는 복식을 이용한 농경 의례복의 다(多)기능성이 강조된 것으로 나타났다. 둘째, 색상은 우리조상의 백의(白衣)의 상징인 일상복인 백색 위에 오방색을 사용하여 화려하고도 강렬한 원색의 색상조화가 특징적으로 나타났다. 셋째, 형태면에서는 양쪽어깨와 허리선의 면 분할이나 비례를 통해 허리부분의 동작에 따른 유동적인 선이 부각되고 있다. 특히, 평면구성의 단조로움은 흔들리는 몸동작에 따른 고름의 율동미와 축제복식의 착장 방법에 따른 한국복식의 형태미를 보여주었다.

• 복식
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• 제43권
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• pp.143-168
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• 1999

• 복식
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• 제35권
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• pp.367-370
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• 1997

• 복식
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• 제17권
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• pp.119-135
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• 1991

• 한국복식학회:학술대회논문집
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• 한국복식학회 2005년도 International Costume Conference PROCEEDING
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• pp.238-239
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• 2005

• 복식
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• 제52권7호
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• pp.27-44
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• 2002

The Folk-dress of some parts of the traditional style is extremely focused and puts value on protecting itself against changes. Generally rural areas are much more conservative politically economically, and culturally. Its environment is sluggish and slow and daily routines change slowly. So they take friendly a position between a race and geographical and environmental differences which is expressed in the Folk-dress. Also, a dress is the most preferred individual object as a symbol of collective homogeneity. By those people who preserve these kinds of the individual objects and by those people who have ethnic conservation, folk-dress was handed down to the present age and the festival dress was used as a tool of ethnic tradition and binding. Therefore, 1 would like to study and research the differences between the folk-dress of the Lithuanian historical and geographical factors and the folk-dress of the surrounding north-eastern European countries. Especially when we compare these with the folk-dress in terms of historical, cultural. and political relationships between Lithuania and the north-eastern European countries, we can find out that they had a good effect on the folk-dress historically and culturally.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2003년도 정기총회 및 춘계학술발표대회
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• pp.69-69
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• 2003

의복은 인간의 일상적인 필요에 따라 존재의 수단으로서 중요성을 가지며, 장식과 기능적인 디자인이 요구되는 예술의 한 부류로서의 성격을 갖는다. 이러한 의복의 유형은 가치관, 언어, 종교 및 다른 감정적인 면과 더불어 그 사회의 문화를 표현하는 것으로 파악될 수 있다. 시베리아 문화권의 의복을 살펴보면 인간과 동물세계의 우주론적 연계에서 자기 부족의 생존이 달려있는 동물의 영혼을 즐겁게 해줄 수 있도록 정성을 다하여 의복을 아름답게 사용하고 있는 것을 볼 수 있다. (중략)

• 헤리티지:역사와 과학
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• 제28권
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• pp.128-162
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• 1995

• 복식
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• 제59권10호
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• pp.137-150
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• 2009

Performance costumes are an important element in the stages which set the tones and embody characters in the performances. This study focuses on Gisaeng's costumes in folk dance performances when Korea experienced modernization from Joseon Dynasty, and aims to examine the features of the costumes as well as how the costumes both influenced, and got influenced by, the rapidly changing society. Gisaeng had been legal entertainment performers of the government in the Joseon Dynasty and, despite careful training and talents, had inferior social status in Joseon's social hierarchy system. In the modern society, a new system of Gisaeng emerged and the first public theater opened. The advent of theaters changed performance stages and the ways performances are conducted. This study investigated Gisaeng's performance costumes by the type of folk dances, such as monk dance, palace dance, Salfuri dance, Jangu dance, and Ip dance. The study brings light to three conclusions. First, as folk dances which had been performed by civil dancers were spread to Gisaeng, Gisaeng's costumes absorbed the costumes of civil dancers. Also, royal costumes appeared in folk dance performances. This can be viewed as mixture of royal and folk dance costumes, resulted from interactions between Gisaeng and civil art performers associated with the modernizing society and the weakening of the old hierarchical class system. Second, as performing arts on stages were modernizing, performance costumes changed accordingly. Thirdly, Giseang's costumes in folk dances also adapted the introduction of the western culture, which largely influenced the fashion trends of people in the early modern society in Korea.

• 복식
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• 제61권8호
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• pp.114-126
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• 2011

Many varieties in folk costumes have inspired fashion designs for a long time. Each country, with a unique style of its own reflects their own traditions, beliefs, customs and morals into their traditional costumes. The traditional methods of creating different ways of drapery methods by using only a rectangular piece of cloth have been passed down from generation to generation and it is still used today. This way of styling has been developed mainly in the Middle East, Asia and Africa and the modifiable ways of creating drapery wearing methods are as follows. The first modifiable styling method is changing the purpose of wearing costumes according to the needs and the wants of the person who wears it. The second method is exposing the knots on the surface of the garments and by doing this, there was no visible difference on the aesthetic formation and it did not alternate for a long time. This means that simple knot shapes have been used to tie edges of rectangular fabrics. The third method is a wrapping type of modifiable styling method, which has been used most commonly in folk costumes because there are lots of ways to wrap a rectangular cloth around the body. The fourth way is the fixed type of modifiable styling method and this method can only be noticed only in the Moroccan Izar using fibulas and belts to alter the shape of the Izar. The fifth method is the composite type of modifiable styling method. This method starts by cutting out cylindrical shapes of fabrics and then wraps or twists it to fit the body. The most significant character of modifiable styling methods in folk costumes is to use rectangular cloths, which varies only in ratio of length, width and sizes. Therefore, this study suggests that rectangular cloths can create enormous amounts of fashion styling which can be easily adapted and created in everyday fashion life.