• 복식문화연구
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• 제28권6호
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• pp.738-754
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• 2020

As a cultural feature of, the relics of the Royal Tomb of King Muryeong are suitable design content for applying with sophisticated production and delicate molding laser cutting techniques. The purpose of this study is to develop modern bag designs using relics of the Royal Tomb of King Muryeong of Baekje using laser-cutting techniques. First, the historical background and meaning of Baekje's cultural content were explored. Second, the principle of laser-cutting techniques were explored, laser-cutting techniques applied to modern fashion and bag design were examined, and bag design characteristics were analyzed. Third, based on prior research, the criteria for the development of bag design, from which eight bag design were developed that combine modern popularity and functionality utilizing Baekje cultural content and using laser-cutting techniques to apply the textile design developed by researchers in 2013 (modified to match laser-cutting techniques). The research results show that bag were clutch, tote, shoulder, and mini. Gold, silver, brown, beige, and navy colors were arranged, based on black/white contrast. Cow, lambskin, washed snakeskin, mesh, and Saffiano leather were used. For the pattern-applying technique, this study showed that a new digital technique, which is laser-cutting techniques could be combined with contemporary bag designs. Moreover, a bag design was developed that has a modern sense and functionality as well as Korean formativeness, which is significant.

• 한국의류학회지
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• 제38권1호
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• pp.1-18
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• 2014

This study analyzes the styles of Baekje costumes by examining costume types and styles based on the research of old books and a comparative study of archaeological and historical Baekje art relics in Central Asia. The results of the study are as follows. 1. Through the comparative study of the records of old books, relic materials (Yangjikgongdo, Mural paintings of Takamatsuzuka Tumulus, Cheonsuguk Mandarasujang, Shosoin relics, and Haniwas), we can see that ancient Japanese costumes were influenced by the culture of Baekje costumes. 2. A comparative study of the records of relic materials of Baekje and Central Asia show that there were vigorous interchanges between the East and West. 3. Baekje costumes showed a great diversity in styles because they were based on Buyeo costumes developed in conjunction with vigorous overseas trade. 4. Baekje's upper garments are summarized as Boksam and Po for men and Yu, Banbi and Euisapo for women. Boksam and Yu styles varied as tunics and overlapped jackets with straight and round collars. Two types of sleeves coexisted. The sleeves of Hansung Baekje period were a diagonal lined style that was wide on the armhole and narrow on the wrist. The sleeves of Sabi Baekje period were a reversed diagonal lined style that is narrow on the armhole and wide on the wrist. Pants styles were summarized as Gon, Gunggo and Daegugo. There were not enough relics and references for the Baekje costumes; however, this study widens the possibility of the existence of various styles of Baekje costumes through inferences from available data.

• 보존과학회지
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• 제33권6호
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• pp.541-552
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• 2017

발굴된 모든 매장문화재는 보존조치의 필요성에 따라 문화재청장은 보존조치를 결정한다. 하지만 보존조치 결과에 따라 이전 복원된 유적의 관리에 대한 법적인 규정이 없는 상태로 인해 관리에 대하여 소홀한 실정이다. 이에 본 논문에서는 충청남도 지역을 대상으로 최근까지 보존조치되어 이전복원된 매장문화재의 보존현황 및 보존방안에 대하여 제시하였다. 충청남도에서 매장문화재 발굴 후 보존조치된 유적은 23개 유적 46개 유구가 확인되었다. 보존유형은 해체이전 27개 유구, 유구전사 14개 유구, 해체이전+유구전사 병행 2개 유구, 모형제작 3개 유구로 이루어졌다. 복원 설치된 유적의 지역별로는 부여군 9개 유적, 공주시 3개 유적으로 부여군과 공주시에 12개 유적 18개 유구가 집중적으로 분포되어 있고, 시대별로는 백제시대 유적이 16개 유적으로 약 70%를 차지하고 있었다. 보호유형은 노천형이 33개 유구로 약 72%를 차지하고 있는 것으로 확인되었다. 이전복원된 유적 관리 상태조사 결과 관리 주체가 명확한 박물관 등 공공기관은 관리를 위한 자체인력을 보유하고 있어 보존 관리가 잘 이루어지고 있었으나 관리 주체가 모호한 경우에는 관리 소홀로 인한 유구 손상이 심각한 것으로 나타났다. 이러한 문제점 해결을 위해 명확한 관리 주체의 명시, 주기적인 관리 및 점검, 이전 복원 방법에 대한 보존처리 방법 연구 등이 필요하다. 발굴된 매장문화재는 학술적 목적뿐만 아니라 홍보자료 및 전시자료로도 활용하고 있어 보다 철저한 관리를 통한 매장문화재의 활용이 필요하다고 판단된다.

• 디지털융복합연구
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• 제10권11호
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• pp.603-612
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• 2012

한나라의 전통적 사상은 그 나라의 지리적 환경, 종교사상 등에서 그들의 의식구조를 알 수 있고 유적과 유물의 특성에서 그 나라의 문화 양상을 알 수 있다. 우리나라의 문화역사는 5000년을 자랑하고 있으며 그 중에서도 백제시대의 문화는 우리역사상 매우 뛰어난 유물들을 창출 하였다. 백제시대의 장신구는 고구려, 신라시대의 장신구와보다 백제 특유의 문양과 세공기술에 있어 부드럽고 풍만한 아름다운 곡선미를 추구해 왔다. 본 연구에서는 백제시대의 장신구중 관, 관식, 귀걸이, 목걸이, 뒤꽂이 등을 중심으로 장신구의 조형적 특징과 문양에 나타난 상징성에 대하여 연구 하였다. 고구려, 신라와 함께 삼국시대의 장신구를 비교하여 백제장신구를 부각시키기 위해 백제장신구에 대한 자료 수집과 국립부여박물관, 공주박물관, 국내외 전문 서적과 국내 참고문헌 등을 고찰 하였고 논문 등을 통하여 백제 금속공예품의 문양을 중심으로 이미지를 연구 하였다. 백제시대의 역사는 화려하고 찬란한 예술적 문화를 지니고 있었지만, 후대에 오르면서 역사적 자료나 그 내용을 뒷받침해줄 유물이 많이 남아 있지 않아 백제문화에 대한 많은 관심과 연구 개발이 필요한 실정이다. 백제시대의 장신구는 단순한 장신구로써 만의 기능이 아닌 백제인의 정서와 다양하고 창조적인 정신세계가 반영되어 있음을 알 수 있었고 최근 과학 기술의 발달과 산업화 속에 문화컨텐츠라는 요소가 사람들의 인식을 변화시킴으로써 백제문화에 대한 관심을 보이고 있는 만큼 백제시대 문양을 더욱 연구하여 다양하고 새로운 조형적 디자인을 개발함으로써 백제를 널리 알릴 수 있는 계기가 되었으면 하는 것이 본 연구의 목적이다.

• 고문화
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• 60호
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• pp.3-25
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• 2002

최근 조사된 몇몇 유적에서 송국리문화단계에 지석묘가 발견되거나, 또는 지석묘문화의 요소가 확인되는 예가 증가하고 있다. 비록 아직까지 이러한 양상을 보이는 유적의 수가 소수에 불과하지만, 조사예가 증가하고 있다는 사실을 통하여 지석묘문화와 송국리문화 사이의 관련성을 보다 구체적으로 상정하는 것이 가능하리라 생각한다. 그러므로 본고에서는 송국리문화가 최초로 형성되었다고 보여지는 금강유역을 중심으로 송국리문화단계에 확인되는 지석묘, 또는 지석묘 요소의 양상을 파악하여 송국리문화와 지석묘 문화의 관계를 살펴보았다. 분석 결과 송국리형묘제와 지석묘가 결합하는 양상은 3개의 유형으로 설정된다. I유형은 송국리형주거지가 지석묘와 공반하며, 송국리형묘제는 확인되지 않는 특징을 보인다. 이 유형의 지석묘는 무덤으로서의 기능보다는 상징적인 의미를 지닌 것으로 판단된다. 이러할 양상은 II유형에서도 확인되는데, 1기 또는 소수의 지석묘가 입지상 중심을 이루면서 송국리형묘제와 공존하는 양상은 지석묘의 상징적 의미를 반영하는 것이라 할 수 있다. III유형에서도 지석묘 요소가 반영된 분묘가 입지상 우위를 보이는 것은 II 유형과 동일한 점이다. 다만, 입지상 중심이 되는 송국리형묘제가 출토유물이나 규모면에 있어서도 다른 분묘와는 뚜렷한 차이가 있는 것을 볼 때, II유형 지석표의 단순한 상징적 의미를 넘어 유력자의 분묘가 등장한 것으로 판단된다. 이 가운데 III유형의 유적은 송국리문화의 중심 분포권에 해당되며 지석묘문화의 영향은 상대적으로 적었음이 확인된다. 반면, I${\cdot}$II유형에 해당하는 유적은 송국리문화의 주변지역에서 확인되며, 지석묘문화의 영향이 보다 강하였음을 알 수 있다. 또, 이를 통하여 금강유역에 있어서 송국리문화와 지석묘문화는 일정한 지역성을 띠면서 상호간에 영향을 미친 것으로 파악된다.

• 한국패션뷰티학회지
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• 제6권1호
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• pp.28-38
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• 2008

Balhae was an ancient Korean kingdom that existed almost 1,300 years ago. It was a dynamic time in the Korean history when the national strength was building up in terms of politics, economy and culture, thereby called as "Haedongseongguk, the powerhouse in the East". Balhae had dominated parts of Manchuria and the northern part of the Korean peninsula between the late 7th century and the 10th century, occupying the center stage of the northern Korean history. It serves as a window to the East Asia in the present as well as in the past. Yet, due to its geography spanning from the North Korea to Kilin Province of China to part of Heilongjiang Province and to the Littoral Province of Siberia, Balhae has been the center of historical disputes among neighboring countries that insist it is part of each of their own history. China argues that it was a prefecture of the Tang Dynasty, established by the Mohe, not a successor to Goguryeo, which is a China-oriented viewpoint of history. In addition, Russia recognizes Balhae as their first-ever medieval feudal state since the Littoral Province is now under their sovereignty. Therefore, the restoration of Balhae history is in line with the veritable establishment of the ancient Korean history. For this, it is necessary to embrace inter-disciplinary achievements and to continue efforts to adopt them rather than to blame the shortage of historical documents and the difficulty of the excavation of relics. If fashion is "a visual symbol" of our society, beauty culture serve as a mirror to reflect our civilization and culture directly or indirectly. Still, it is not easy to draw similarities by analyzing and comparing the attributes of various cultures and civilizations party because the essence of culture lies in diversity. Nevertheless, it is believed that cultural liaison as well as geographical liaison can be a medium to compensate for the limits of the foreign exchange history of Southeast Asia in proving the relationship between Goguryeo and Balhae, by examining and speculating beauty culture that reflect their period. It was confirmed by various documents regarding Goguryeo out of relics, historical sites and documents. Mural paintings showed how the people of Balhae wore and accessorized themselves. They also allowed us to speculate their way of living. As the contemporary historians can assert that Balhae is part of the Korean history thanks to the realism scholars in the late Joseon Dynasty, who rediscovered the Balhae history and conducted practical researches, it is expected that researchers who study beauty culture contribute to completing the restoration of the Balhae history by thoroughly examining our history, costume and beauty culture.

• 동남아시아연구
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• 제20권3호
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• pp.263-297
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• 2010

The relics of the Southeast Asian civilizations in the first phase are found with the relics from India, China, and even further West of Persia and Rome. These relics are the historic marks of the ancient interactions of various continents, mainly through the maritime trade. The traces of the indic culture, which appears in the historic age, are represented in the textual records and arts, regarded as the essence of the India itself. The ancient Hindu arts found in various locations of Southeast Asia were thought to be transplanted directly from India. However, Neither did the Gupta Hindu Art of India form the mainstream of the Gupta Art, nor did it play an influential role in the adjacent areas. The Indian culture was transmitted to Southeast Asia rather intermittently than consistently. If we thoroughly compare the early Hindu art of India and that of Southeast Asia, we can find that the latter was influenced by the former, but still sustained Southeast Asian originality. The reason that the earliest Southeast Asian Hindu art is discovered mostly in continental Southeast Asia is resulted from the fact that the earliest networks between India and the region were constructed in this region. Among the images of Hindu gods produced before the 7th century are Shiva, Vishnu, Harihara, and Skanda(the son of Shiva), and Ganesha(the god of wealth). The earliest example of Vishnu was sculpted according to the Kushan style. After that, most of the sculptures came to have robust figures and graceful proportions. There are a small number of images of Ganesha and Skanda. These images strictly follow the iconography of the Indian sculpture. This shows that Southeast Asians chose their own Hindu gods from the Hindu pantheon selectively and devoted their faiths to them. Their basic iconography obediently followed the Indian model, but they tried to transform parts of the images within the Southeast Asian contexts. However, it is very difficult to understand the process of the development of the Hindu faith and its contents in the ancient Southeast Asia. It is because there are very few undamaged Hindu temples left in Southeast Asia. It is also difficult to make sure that the Hindu religion of India, which was based on the complex rituals and the caste system, was transplanted to Southeast Asia, because there were no such strong basis of social structure and religion in the region. "Indianization" is an organized expansion of the Indian culture based on the sense of belonging to an Indian context. This can be defined through the process of transmission and progress of the Hindu or Buddhist religions, legends about purana, and the influx of various epic expression and its development. Such conditions are represented through the Sanskrit language and the art. It is the element of the Indian culture to fabricate an image of god as a devotional object. However, if we look into details of the iconography, style, and religious culture, these can be understood as a "selective reception of foreign religious culture." There were no sophisticated social structure yet to support the Indian culture to continue in Southeast Asia around the 7th century. Whether this phenomena was an "Indianization" or the "influx of elements of Indian culture," it was closely related to the matter of 'localization.' The regional character of each local region in Southeast Asia is partially shown after the 8th century. However it is not clear whether this culture was settled in each region as its dominant culture. The localization of the Indian culture in Southeast Asia which acted as a network connecting ports or cities was a part of the process of localization of Indian culture in pan-Southeast Asian region, and the process of the building of the basis for establishing an identity for each Southeast Asian region.

• 감성과학
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• 제26권4호
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• pp.71-92
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• 2023

본 연구의 목적은 구슬 문양 디자인의 상징성과 의미 및 신라문화와의 연관성, 유리구슬 제조의 제반 여건을 조사하여 예술성과 기술성이 뛰어난 신라 인면 상감 유리구슬의 신라 자체 제작설을 검증하는 것이다. 연구방법으로는 디자인 분석 이외에 고문헌과 신화, 유리 유물, 유리 및 금속의 생산기술, 실크로드 교차로의 특성 등을 조사하였으며 홍산문화 유물, 다른 상감 유리구슬의 사례들을 수집하였다. 마한, 부여, 신라인은 구슬을 보배로 삼고 장신구에 애용하였는데, 구슬 속의 인면상 상투와 금관장식, 새와 꽃나무의 모든 디자인 요소가 김알지, 김수로, 박혁거세, 주몽 등 위인들의 난생설화, 북방의 새 및 신수 숭상 등과 밀접하였고, 디자인 요소와 배치가 신라의 다른 유물에서도 동일하게 표현되고 있음을 확인하였다. 구슬과 인면상의 기원은 홍산문화였으며 하가점하층문화의 고조선 북표에서는 구슬용 석범이 발견되었다. 또 경주 식리총의 상감 유리구슬과 일본 토간모리 고분의 인면 상감 유리구슬의 출토는 신라 자체 제작설을 확증시켜주는 것이다. 백제인이 5세기 일본에 유리구슬 제작소를 둔 사실은 신라인이 인도네시아 자바에도 제작소를 두었음을 의미한다. 신라와 밀접한 관계였던 인도네시아 자바는 신라의 해상실크로드 교차로, 원석 및 노동력 제공지이고 유리구슬의 소비 지역이나 기원지는 아니었다. 이에 구슬에 대한 신화와 전통을 보유하고 머리에 상투와 금관을 착용하였으며, 금속 및 상감 기술 등 난이도 높은 기술을 보유했던 신라가 자체 제작한 것이 틀림없다.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2006년도 추계학술발표대회 논문집
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• pp.177-178
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• 2006

This plan is for a different type of welfare facilities devised by analyzing problems with existing welfare centers and focusing on connection with residents and link between culture and welfare and among generations. In terms of re-development plan of Youngsun-2-dong, Youngdo-gu, Busan and the neighborhood under this plan, Youngsun-dong, Youngdo-gu is one of the densely populated districts of the aged, with lower growth rate and poor housing and welfare facilities. However, the district has a blessed natural environment and historical site of cultural relics of the Neolithic Age as well as growth potential as a logistics center with broader network of roads linking with Bukhang Bridge when Namhang Bridge construction is complete, showing the aspiration for change toward hi-tech maritime city in the 21st century of Youngdo-gu. This plan is expected to promote unity between the old and children, protection from social marginalization, and re-socialization education and set the stage for participation and solidarity of residents in the community.

• 한국의류산업학회지
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• 제17권6호
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• pp.871-880
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• 2015

Buddhist culture had a significant impact on the entire mode of Korean living after the introduction of Buddhism to Korea in the Three Kingdom Period. Baekje embraced Buddhism in 384 A.D.; subsequently, diverse artifacts have now been excavated from the temples. Various research on Korean temples are now in progress; however there is inadequate research on the relics and patterns excavated from the temples due to the focus on the temples’ architectural form. There is limited research on the development of fashion cultural products that use relics excavated from the temples. This study develops designs for fashion cultural products using Baekje Sabi Period relics; specifically, the sari container excavated from Buyeo’s Wangheungsaji, Neungsanrisaji, and Iksan’s Mireuksaji. The sari container’s original form, patterns, and writing were developed into patterns and applied to fashion products such as t-shirts, bags and scarves. Traditional multicolored paintwork exhibited on the temples, ‘dancheong’, was selected as the color for products that can symbolically express the nature of their origin. Adobe Illustrator CC and Adobe Photoshop CC were used to extract the motifs and develop the designs. Six patterns and nine fashion products were designed, accounting for a total of fifteen developed items. We hope that the fashion cultural product design expresses the distinct characteristics of Baekje’s Sabi Period and can be applied to various products and related fields.