• 헤리티지:역사와 과학
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• 제40권
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• pp.243-270
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• 2007

직물에 표현되는 연주문은 제작 과정상 크기나 모양의 제약이 없어 그 표현이 자유롭고, 그 형태와 재료 색체 등을 통해서 당시의 사회문화를 유추할 수 있다. 본 연구의 주제인 동전(東傳) 연주문은 사산조 페르시아에서 출발하여 실크로드를 통해 전래된 것으로 동서문화 교류와 밀접해 있다. 이에 본 연구에서는 연주문이 시작되는 5세기부터 10세기에 해당하는 서 중앙아시아의 벽화 복식, 중국 신강 청해 일대에서 출토된 고대직물 그리고 일본 정창원(正倉院) 소장품의 연주문에 대해 고찰하였다. 그리고 이상의 자료를 통해 연주문의 동서 교류 현상과 구조적 변천과정을 밝히는 데에 목적을 두고 있다. 실크로드를 따라 동전(東傳)하는 연주문의 도안은 지역에 따라 조금씩 차이가 난다. 예를 들러 고대 소그들인들이 주로 활동했던 파미르고원 서쪽에서는 서아시아적인 모티브가 변형된 사슴이나 화식조 등을 주제로 하는 연주문금이 출토되지만, 쿠차 신강에서는 중국적인 모티브가 첨가되어 한자문이 삽입되거나 태양신[Helios] 대신 불상문 보살문으로 나타난다. 이처럼 새로운 문양의 등장은 구조적인 변화를 동반하여 점차 사산조 페르시아의 정형화된 패턴에서 벗어나게 된다. 그리고 그 구조적인 변천과정은 후대 여러 문양의 구성 및 배치방법과 연관이 있다. 연주 환간의 마름모꼴 공간에 안치된 사합초화문 등이 능화문의 형태로 발전되었으며, 10세기 이후 나타나는 기하학적인 골조문양의 유행 단위문양을 상하좌우로 배치하는 탑자문의 전개법이 연주문과 유사하다. 요컨대 연주문은 기술적 진보와 함께 표현 자체에서 세련된 예술적 코드를 읽을 수 있으며, 지역이나 문화를 넘어서는 보편적인 문양으로서 중요한 의미를 지닌다.

• 헤리티지:역사와 과학
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• 제53권2호
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• pp.204-221
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• 2020

훈의문화는 동아시아에서 공유한 문화이다. 해양 실크로드의 번영과 향재의 교역은 향 문화를 발달하게 해준 직접적인 요인이라 할 수 있다. 따라서 향 문화의 발달 시기는 교역의 시작시기와 유사하게 나타난다. 훈의(熏衣)는 향을 태운 연기로 향을 입히는 용법이다. 중국은 한대(漢代)부터 합향을 제조하였으며, 훈롱(熏籠)을 사용한 기록이 있어 훈의향을 합향으로 제조한 것으로 추정된다. 이후 당대(唐代)에 향료의 교역이 활발해지면서, 『천금요방』, 『향보』, 『향승』 등에 훈의향의 제조법과 훈의 기술이 나타나고 『계해우형지』와 『제번지』 등의 서적을 통해서도 향료의 교역국과 교역품을 확인할 수 있다. 이러한 훈의향의 제조법과 용법이 기록된 문헌과 훈의에 필요한 도구들을 통하여 연구를 진행하였다. 한국에는 불교의 전래와 함께 향이 소개되었다. 『매신라물해』의 기록을 통하여 일본과의 향 교역 사실을 확인할 수 있으며, 훈의향이라는 교역품이 기록되어 있어 신라시대부터 훈의를 시행한 것으로 추정할 수 있다. 향재의 교역이 융성하였던 고려시대에는 인삼과 함께 사향을 수출하였다. 왕실에서는 송(宋)으로부터 하사받은 향을 사용하였으며, 부인들은 향낭류의 패식향을 선호하였다. 패식향의 선호가 조선시대에도 이어져 조선시대에는 훈의의 기록을 찾기 어렵다. 조선시대에는 패식향의 사용, 향로에 피운 향의 냄새가 간접적으로 의복에 스며드는 방식, 그리고 옷장에 의향을 넣어두는 간접적인 방향을 선호한 것으로 추정된다. 일본은 『매신라물해』의 기록을 통하여 신라를 통해 향을 교역한 사실을 알 수 있다. 헤이안 시대 궁정 소설 『겐지이야기』를 보면 당시 귀족들의 향 문화와 훈의문화, 향 교역을 추정 할 수 있다. 일본의 훈롱은 필수 혼수품으로 자리 잡았으며, 그에 따라 실용적인 형태로 발달하고 장식성이 가미되었다. 베트남 남부의 점성국이 훈의를 시행한 사실은 『제번지』에 직접적으로 기록되어 있다. 베트남 북부의 교지국이 훈의를 행하였다는 직접적인 기록은 찾기 어렵다. 그러나 중국과 복식 문화가 같다는 기록과 훈의를 행하였던 국가인 중국과 점성국에 인접하였다는 점, 그리고 향료의 원산지라는 점에서 훈의문화를 공유하였을 것으로 추정할 수 있다. 동아시아의 한·중·일, 그리고 베트남은 훈의를 시행하는 문화를 공유하였다. 이를 통해 훈의향의 목적과 발달 시기, 훈의향의 제작, 훈의법, 훈의 도구, 훈의를 하는 사람의 성별 그리고 사용한 향재에서 공통성을 찾을 수 있다.

• 복식
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• 제50권7호
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• pp.15-31
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• 2000

1. After the Chu Dynasty(周代), we can confirm the fish shape mark made of stones as the relics of the Chunkuk dynasty(戰國時代). In the Shu Dynasty(隋代), the system of bamboo and the rabbit shape mark made of silver into the fish shape mark. As it were, made of bamboo or siltier changed into the fish shape mark made of jade, gold, silver or wood. 2. In the Dang Dynasty(唐代), the used the fish shape credit mark made of jade, gold, silver, copper or textile, according to their classes. According to one's posit the man who wore purple, red coat, credit mark made a gold and silver. attached with putting them in fish bags. 3. In the Ryo Dynasty(遼代), there was also a system of attaching marks. The emperor was hanging the fish shape and the officials attached the double fish shape to the common dress. fish shape of jade. gold, amber, agate, silver or copper. without any fish bag. 4. The Song Dynasty(宋代) followed the system of the Dang Dynasty they used only the fish shape bags without marks in them. Hanging the fish shape bags made of gold and silver at the back side of the belt. 5. The Gin Dynasty(金代) carried out the system of made jade, gold or silver like the Dang, Song and Ryo Dynasty. In the Sejong Kingdom a system of paper card was carried out as the credit mark of the eighth and the ninth grade. 6. In the Ming Dynasty(明代), the military official general attached the golden, silver, ivory of jade, wood and copper cards with their positions and names. 7. Following the Dang Dynasty, Japan made of fish shape bags to their clothes. Colors of their fish shape marks were same as their clothes. They made the marks, such as crystal, cow's horn, lead and nickel and plated them with gold or silver. 8. In Korea, Pohai(발해) established the fish shape credit mark differed in material. gold, silver or copper according to their positions. We can confirm the Unified Silla(南國;統一新羅), carried out the system of attaching the fish shape in Chonma Chong(천마총), Golden Crown Chong(金冠塚), the King's 13-17 belt ring unearthed at the north part of Court South threat Chong(황남대총), the fish shape golden or silver, to their purple or red ceremonial coats. In the Koryo Dynasty(高麗), like the Dang, Song and Pohai, they attached the fish shape golden or silver marks, to their purple or red ceremonial coats.

• 복식
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• 제18권
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• pp.211-223
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• 1992

The results of the researches in the wig and the Boyo are as follows. The wig is to be classified into Bu, Pyun, Chah, Cheh, and kwik, Bu is an ornamental hairpin used by the empress, and it is decorated with Boyo. Pyun is a wig made of braided hair. Chah is made of Bal which is put together by its lenath, and it was also called Picheh or Pisuck. It is made, one by one, of hair of the convicts and the low-class people. 초도 has a meaning of toupee, and it is used to look beautiful with its thick black hair. Kwik is a wig made of hair as if it is weaved out of thread, and it is rounded with a wire. In ancient times, it was also called chah, Pi, or Pi People wore different wigs according to their class and the use, in order of Bu, Pyun, and Chah. There are remains of the Han Dynasty. Boyo, just like the wig, was originally a custom of the northern nomadic tribes which had been introduced to the later Han Dynasty. It is also called Cho Song and has a different meaning from the Boyo attached to a crown before the Han Dynasty. It became much more beautiful in the Which in period. Boyo gained its popularity by the women in Tang Dynasty, which is due to the influence by the customs of the western Ho tribe. The name of hairstyling using wigs in each period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its properity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found. times, it was also called chah, Pr, or period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing, it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its prosperity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found.

• 복식
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• 제62권2호
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• pp.103-121
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• 2012

The purpose of this study is to provide basic information to improve competitiveness of Korean fashion brands in the Chinese fashion market by taking photos of street styles in Seoul that is the hub of Korean fashion and in Dalian, the northeastern district where Korean fashion brands are launched as a test market China to compare and analyze the clothing colors preferred mostly by young women in their twenties and thirties who have the highest purchasing power. The study methods used literature review and empirical study simultaneously. Dalian and Seoul are two fashion cities in northeast of China and Korea where street fashion was photographed. Clothing colors that were mainly worn by young women in their twenties and thirties were qualitatively analyzed using the photos taken. Color analysis was based on the Munsell Color Order System to grasp general preferences of colors on the basis of previous researches, and color tones were based on the ISCC-NBS System. In order to grasp the basic materials on Seoul, the Korean fashion city and Dalian, the northeastern fashion city in China, street fashion styles of 2010/11 F/W season were compared and analyzed. As a result, black and deep tone PB color appeared most frequently. The vivid and strong tone of R, YR, Y color showed high frequency of clothing colors. For the top wear, women in both areas preferred similar tones in the YR color category and Dalian women preferred vivider and brighter S tones in the R color category. For the bottom wear, women in both areas highly preferred achromatic colors and colors in the PB color category. For bags, women in both areas preferred black and colors in the YR color category. Finally, for the shoes, while women in both areas preferred black in the achromatic color category, they showed different color preferences in the chromatic color category. R color categories were preferred by the women in Seoul and the YR color categories were preferred by the women in Dalian. Conclusively, women in both cities highly preferred achromatic colors especially black for the top and bottom wear, bags, and shoes. It may reflect their desire to look refined and slender through colors. Moreover, continuous and steady research on fashion trends in Seoul and Dalian may have positive effects on Korean fashion businesses that plan to be launched in China, the area of competition for global brands.

• 복식
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• 제19권
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• pp.209-240
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• 1992

The costume of any nation is an attribute of a culture. This study concerns chinese and Mongolian costume's 'collar' form according to the observation of some reports about import folk materials and the pictures of the genuine objects, the author has investigated and rearranged them focusing on 13th Century's. 1. Traditional OverCoat or National costume on the poing of won dynasty in china such as Jacket, Coat, Mantle for making classical matching color, lacing, pearl pieces, and all costume shall be properly decorated and disigned. The example, Chinese Women's Gown and Double Jacket, on top of alignment of plaid, focus shall be placed on chinese classical form and color-matching, such as flowers and bireds, butterflies, made wishing ornaments, which shall be either hand painted or embroidered on collars, fronts, sleeves openings, and lower portion of gown. 2. Mongolian Costume, the stone status of a person, are seen at the territory of the Republic of Mongolia was a powerful country of Asia. So during the Mongolian Empire a lot of Missions from many countries came to kharakorom for establishing official relations between Mongolia and a country represented by mission. In particularly, the costume of mongols on the point of Chinggis khan Empire which the upper clothes in cluded ; a several kinds of the Caftan as compared with in Korea as to material (Silk caftan, Cotton Caftan, Fur Caftan) with closing to the right due to overlapping and Stand-up-Shawl Collars will pancho style & Round or V Neckline. 3. As compared with in Korea it is said that this a sort of Simui was brought in prior to the middle of Koryeo dynasty. Korean Simui system was complied with chinese system through confucian domestic behaviour. This was respected for court dress of confucian scholars, as it was, Chumri can ordinary dress of schloars) and Hakchangui ( a uniform of confucian student). Generally its form or shape of the outer lapels of Korean jacket were used together Squar-Tray-Collar. In late Yi-dynasty the inside collar length was longer than the outside collar length and the width of the collar was gradually narrow. And so the Traditional costume's outer collar of Jacket and OverCoat became small while the width and length of breast-tie became large. The same thing as the form of the collar on these days had been appeared by the design method or adjust one's dress. Therefore the form of collar in the china and Mongolian Traditional OverCoat & National Costume is fix arranged according to Stand up Collar, Without Collar, Clothing to the Right, Central opening, Horizontal Row of Button with Round or V Neckline and so on.

• 복식
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• 제38권
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• 복식
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• 제31권
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• pp.61-73
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• 1997

Kon-myuh was worn by the ancient Chinese and Korean rulers as ceremonial dress during special rituals such as worshipping heaven and ancestors marriage or funerals. kon-myun consists of two major parts-Myun and kon-bok (the main bodypiece) as well as other articles of clothing(skirt footgear etc), There were regulations set in ancient books describing in detail the make of the kon-myun number of ryu and symbol to be used all which applied to each ruler depending on rank and status. This study is aimed at examining the consistency of the korean and Chinese in following the regula-tions as seen in relics which have been recovered from the past. Based on historical findings it seems that Korean Kon-myun came to Korea from China during the Three Kingdoms period. It was also worn in the Koryo and Chosun Dynas-ties and the Taehan Empire. In studying Konmyun in Korea the researcher studied a book from the early Chosun dynasty, Kukjo-oryeuiseory and a book from the late Chosun Dynasty Kukjo-sangrye-bopyun to find the guidelines and rules applying to the Kon-myun tradition. Slight difference were found across time in the supplementary articles of clothing as seen in Uigwe Pokwan-doseols explanations and drawings of Kon-myun. The researcher used uigwes of funerals of kings of the Chosun Dynasty and observed change over this period of time. However there was a clear consist-ency: the king's Kon-myun consisted of 9ryu-myun 9chang-bok while that of the prince consisted of 8ryu-myun 7chang-bok. For the Taechan Empire the researcher used Tae-han Yae-jun which shows the emperor's kon-myun to have consisted of 12ryu-myun 12chang-bok. To study how the regulations were put into practice relics were uncovered from the periods being studied. A portrait of King Ik-Jong remnants from King Ko-jong's Kon-bok and a photograph of Emperor Sun-jong all were in close adherence to the regulations outlined in the books. In China Kon-myun was worn by emperors from the Han to the Ching Dynastices. The researcher investigated Kon-myun es-pecially in the Ming Dynasty. The Kon-myun regulations as read in Tai-ming-hui-chan changed through all four periods. To study the faithfulness of practice to low Ding-ling the tomb of Emperor Shin-jong who ruled during a period of the Ming Dynasty was unearthed and the remains of the Emperor's Kon-myun were analyzed. The Kon-myun consisted of 12ryu-myuh 18chang-bok and there were other differences I color symbols and wearing method when compared to the regulations. It can be concluded that the Chinese Kon-myun tradition was not in strict adher-ence to the regulations established by law books. This is in contrast to the Korean Kon-myun tradition which showed little devi-ation. Further study is needed to understand why there was this difference in tradition and ritual.

• 패션비즈니스
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• 제19권1호
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• 공연문화연구
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• 제39호
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• pp.863-901
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• 2019

본고는 고대 서역의 석국(石國. Chach)의 민족무용인 <자지무>가 중원에 전파된 후 <쌍자지> 혹은 <굴자지>로 변용된 뒤 당송대에 고려에 유입되어 궁중의 당악정재 <연화대>로 변용된 아시아 전통춤의 전파 과정을 토대로 한 공연문화콘텐츠의 구축 사례를 돌이켜 고찰하였다. 본 프로젝트를 위해 서역, 중국, 한국의 고대 무용 전파와 관련된 광범위한 사료를 분석하는 사전 연구를 수행하였다. 나아가 사료의 한계를 극복하기 위해 다양한 경로를 통해 관련 도상, 동영상, 음원 자료들을 수집하여 공연 제작에 반영하였다. 사전 연구를 기반으로 각 분야 전문인력과의 협업을 통해 음악, 무용, 복식의 재구를 시도하고 그 결과를 공연으로 마무리한 제작 과정을 기술하였다. 나아가 프로젝트의 성과와 향후 활용방안을 제안하였다. 고증사료와 참여인력의 부족에 따른 한계에도 불구하고 고대 아시아 전통춤의 전파와 변용을 주제로 시도한 국내외 최초의 전통문화콘텐츠 구축 사례인 점에서 의의를 찾을 수 있다