• 제목/요약/키워드: Fashion Art

검색결과 1,203건 처리시간 0.021초

모로코인(人)의 장신구(裝身具)와 화장(化粧)에 관(關)한 연구(硏究) (A Study of the Personal Ornaments and Make-up of Maroccan)

  • 이순홍
    • 패션비즈니스
    • /
    • 제5권2호
    • /
    • pp.15-34
    • /
    • 2001
  • Ornaments are accessories for the decoration of the body or dress. They aren't unavoidably required one, but serve to make one's dress perfect as decorative industrial art objects. In Morocco, ornaments were initially used as a sign of social position or the class or an incantatory symbol. In effect, they were originally employed to adjust one's dress, not just for decoration, and they were of use for household economy. Gold, silver and handcraft available for exchange were a means of increasing one's property and an indication of social standing and wealth. In particular, the dress and jewelry of a bride was a measure of her family's wealth, regarded as a symbol of her chastity and value. The ornaments symbolically back up people's faith in supernatural power, and their real value is based on implicit form or way of decoration, not the external shape. Specifically, there is a tendency to use the form of animal as a protector, not one to frighten people. In the artistic tradition of Morocco, fish pattern stands for water and rain, and eagle and bird are considered to be related to fate. Scorpion and lizard are depicted as an inquirer of sun, and snake is a symbol of abundance and sexual instinct, being viewed to have an ability to cure disease. Turtle pattern is a symbol of saint because it protects one from the evil. The ornaments are made of gold, silver, amber, clam, garnet, glass, nielle, enamel, glaze, coral or tree, and symbolic patterns are used, including hand(a symbol of five numerals), turtle, lizard, scorpion, eye, triangle, bird and eggs. They are very big and diverse, being categorized into ornaments for the head or the chest, neckless, fibula, earring, bracelet and ring. For Moroccans, make-up is a sort of instinctive behavior to meet aesthetic and sexual desire. They also wear make-up for practical purpose of protection, intentionally inflict a wound on the skin for ceremonial or religious purpose, paint the skin with pigment, or have the part of the body tattooed for incantatory purpose. All this actions are regarded as make-up. The raw material of cosmetics is aker, a vegetable dye. They get the lips or cheeks turn red and paint eyebrows with yellow saffran powder to have a bad devil lose its strength. Tattooing is mainly done by women and viewed as a sign of their value or social organization they belong to. Sometimes that is used to represent a woman's being old enough to marry or getting married already or the frequency of marriage. Besides, tattoo is believed to prevent or remedy loose bowels or cough, depending on its location or pattern, and they often change tattoo according to the change of beauty art.

  • PDF

NC/Nga 마우스의 아토피 피부염에 미치는 카모마일, 라벤더, 샌달우드 혼합오일 도포의 치유효과 (The Effect of Mixed Aroma Oil with Chamomile, Lavender and Sandalwood on Atopic Dermatitis in NC/Nga Mice)

  • 신길란;김양원
    • 감성과학
    • /
    • 제19권2호
    • /
    • pp.27-34
    • /
    • 2016
  • 본 연구에서는 카모마일, 라벤더, 샌달우드를 혼합한 아로마 혼합오일(CLS)과 면역억제제(FK506)의 아토피 피부염 치료효과를 알아보기 위하여 혈청 중 IgE(Immunoglobulin E)와 IgG1(Immunoglobulin G1)의 수준의 감소효과, 피부 임상지수를 이용한 육안평가 등을 실시하였다. 그 결과 IgE 수준을 낮추는데는 CLS가 더 효과적이었고, IgG1 수준을 감소시키는 데에는 FK506이 더 효과적인 것으로 나타났다. 육안평가 결과를 통하여 아토피 피부염을 가진 마우스에 FK506과 CLS를 도포한 후 2주까지는 아토피 증상을 더 악화시켰으며 4주후부터는 증상완화가 현저하게 나타남을 확인할 수 있었다. 특히 FK506의 효과가 두드러졌는데 이는 IgG1 수준감소와 관련이 있는 것으로 사료되며 이와 관련하여 보다 심도있는 실험 조사가 필요하겠다. 이상의 결과로부터 카모마일 저먼, 라벤더, 샌달우드의 아로마 혼합오일이 아토피 피부염의 개선에 효능이 있음이 인정되었고 이와 같이 장기간 피부에 도포하여 치료하는 경우 CLS가 아토피 치료의 한 방법으로서 가능성이 보임을 확인하였음에 본 연구의 의의가 있다.

문신 및 반영구화장에 관한 체계적 문헌고찰 (A Systematic Review of the Literature on Tattoo and Semi-permanent Makeup)

  • 박소연;서은경;강성욱
    • 한국응용과학기술학회지
    • /
    • 제40권3호
    • /
    • pp.435-452
    • /
    • 2023
  • 본 연구는 1979년부터 2022년까지 발표된 문신 및 반영구화장 관련 논문 198편을 대상으로 발표시기, 주제, 연구방법에 따라 체계적 문헌고찰을 수행하였다. 시기별로는 제1기(1979년~1994년), 제2기(1995년~2005년), 제3기(2006년~2012년), 제4기(2013년~2022년)로 나누었다. 제1기에는 보건의료적 측면의 연구가 주를 이루던 시기이며 제2기에는 예술, 문화 등 다양한 측면의 연구들이 나타나기 시작하였다. 제3기는 반영구화장에 관한 연구가 증가한 것이 특징이며 제4기는 문신 및 반영구화장의 연구가 급증하였다. 연구주제별로는 보건·의료, 미용, 패션·예술, 사회·문화, 법·제도로 나누어 분석하였다. 그 결과 소비자의 선호도와 인식도 등을 파악하기 위한 미용적 연구가 가장 활발하게 이루어졌으며, 보건의료적 연구가 두 번째로 많았다. 최근 법제화의 필요성이 높아짐에 따라 법·제도와 관련한 연구들이 급증하였으며, 문화, 역사, 패션 등에 관한 연구도 이루어졌다. 연구방법별로는 조사연구 방법을 가장 많이 활용하였으며 문헌연구, 사례연구 등 다양한 방법도 이용되었다. 본 연구로 향후 후속 연구가 더욱 촉진될 것이며 관련 산업의 발전에도 기여할 것으로 기대한다.

김숙자류 경기시나위춤에 관한 고찰 (An Analysis of Gyeonggi Sinawi Dance in the Fashion of Kim Sukja)

  • 한수문
    • 공연문화연구
    • /
    • 제22호
    • /
    • pp.413-439
    • /
    • 2011
  • 본 연구는 사라져 가는 김숙자류 경기시나위춤의 종류와 형태를 보다 구체적으로 살펴봄으로서 올바른 전승의 방향을 탐색해보는데 있었다. 따라서 첫째는 경기시나위춤의 특징과 전승현황을 살펴보는 것이었고, 둘째는 『무형문화재 조사보고서 제121호』에서 "김숙자는 경기시나위춤 7바탕을 거의 방수에 어김없이 전수하고 있다"라고 언급한 7바탕의 춤 종류를 구체적으로 살펴보는 것이었다. 셋째는 각각의 춤 형태가 어떠한 구성을 하고 있는가 였고, 넷째는 경기시나위춤에 사용되는 주요 장단이 각각의 춤에 어떻게 사용되었는가를 규명하는 것이었다. 김숙자는 대명창인 조부 김석창과 화성재인청 출신의 부친 김덕순, 무속인이었던 모친 정귀성, 당대의 춤 명인이었던 조진영 등에게 시나위춤과 판소리 5마당, 가야금 병창 등을 배운 경기지방의 춤사위와 음악적 구성에서 그 누구보다도 뛰어난 예술적 재능이 간직하고 있었다. 김숙자가 추었던 경기시나위춤 7바탕은 '부정놀이춤', '터벌림춤', '진쇠춤', '제석춤', '깨끔춤', '올림채춤'과 1990년 중요무형문화재로 지정된 '도살풀이춤' 등이 있다. 경기시나위춤에 쓰이는 주요장단으로는 섭채(도살풀이), 모리, 발뻐드래, 부정놀이, 올림채, 진쇠, 터벌림(반설음) 등이다. 김숙자의 춤들은 한 개인의 춤을 넘어 그 시대의 경기 지역적 문화양식과 삶을 엿볼 수 있으며, 전통문화에 대한 학술적 사료로써 큰 가치를 지닌다 할 수 있다. 따라서 이러한 귀중한 전통문화 사료를 잘 보존하고 전승할 책임이 현 세대에게 필요하다 볼 수 있다.

복식에 표현된 시대적 이상미 - 르네상스.바로크 시대를 중심으로 - (Ideal Beauty Represented in Dress - Focused on the Renaissance and Baroque Periods -)

  • 신주영
    • 복식
    • /
    • 제58권3호
    • /
    • pp.131-148
    • /
    • 2008
  • Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

폴리쉬 사용으로 인한 네일 변색에 관한 연구 (A Study on the Nail Discoloration of the Polish)

  • 이영숙;박영선
    • 복식문화연구
    • /
    • 제19권2호
    • /
    • pp.309-315
    • /
    • 2011
  • Due to rapid growth of nail art industry, various materials and expression tools are have been developed. Increasing number of consumers favor diverse nail art techniques including painting and artificial tips in addition to basic care such as cuticle trimming or coloring. Accordingly, the diversity of polish colors has been settled as a concept of total fashion in addition to the clothes and accessories. As the result, nails may be damaged or discolored. A study the nail discoloration by using polish was purposed that contribute to the development of nail protective products. The tests were conducted with 20 college students for six months from March 3 to Aug. 28, 2009, using digital camera as the measurement apparatus. The students were classified into two groups which applied bright polish (white, beige, pink series) and dark polish (purple, blue, black series), and then divided into the groups applied and not applied the base coat which is known to be effective in preventing nail discoloration, and the groups applied and not applied tonic. The students applied polish for one week, and removed the polish with remover and photographed to examine the degree of nail discoloration. Dark colored polished resulted in earlier coloration and discoloration than the bright colored ones. Base coat could prevent coloration and the color changes of hyponychium and eponychium were lighter than the cases not applied with base coat. Tonic could delay coloration and reduced the color changes of hyponychium showing that tonic was effective for preventing coloration and discoloration of nail in addition to nutrition.

한국 복식의 미적 가치에 대한 고찰 -조선 복식을 중심으로- (The Aesthetic Values of the Korean Traditional Costume)

  • 김윤희
    • 한국의류학회지
    • /
    • 제21권5호
    • /
    • pp.946-955
    • /
    • 1997
  • The purpose of this study is to present the aesthetic values of the Korean traditional costume for developing 'Korean' fashion design can be accepted in general in the modern times. For this purpose, documentary studies about the aesthetic values of the Korean traditional art and Korean traditional costume were preceded. And the perception of the Korean traditional costume were studied according to Belong's two criteria, body priority/ clothes priority and open/closed. Next, the aesthetic values of the Korean traditional costume were re-defined. The results can be summarized as follows; 1) The aesthetic values of the Korean traditional art are the beauty of nature, the purity, and the pleasantry. As the beauty of nature is the important one, the purity is caused by the love of nature. The pleasantry is as a way of expression. 2) The aesthetic values of the Korean traditional costume through the documentary studies stand for as the beauty of nature, the purity, the beauty of evil's eye, the beauty of symbolism, the beauty of personality, the beauty of tragedy and the beauty of tradition. 3) Korean traditional costume are perceived as clothes priority and open. 4) The aesthetic values of the Korean traditional costume can be re-defined as the beauty of nature, the purity, and the pleasantry. The beauty of nature comes from the 'natural' look, the exposure of the fabric as itself and the organic lines of the Korean traditional costume. The purity comes from the geometrical squared clothing form of Korean traditional costume which doesn't revive the human body form. The Pleasantry is seen the colors and motifs of costumes that have the human's hope and incantation and the exaggeration and distortion of human body form.

  • PDF

서양 역사복식에 나타난 과장적 헤어스타일의 미적 특성 연구 (A Study on the Aesthetic Characteristics of Exaggerated Hairstyle in the Western Costume)

  • 이연희;성광숙
    • 복식
    • /
    • 제65권8호
    • /
    • pp.110-124
    • /
    • 2015
  • This study examined a phenomenon of exaggerated hairstyle in the history of Western custom through publications related with Western costume and research papers. By adopting the criteria of Delong, M. R. to analyze visual forms shown by interaction between human body and costume worn over the body, it analyzed the formative characteristics by the interaction between hairstyle and costume. In addition, it inferred the aesthetic characteristics through content analysis of examined phenomenon focusing on socio-cultural background and costume socio-psychological precedent studies. Formative characteristics of exaggerated hairstyle applied by analysis criteria of Delong, M. R. were in pursuit of the emphasis style. This was clearly and intensively recognized by forming spaces for mostly closure style, part style, three dimensional style, determinate style, and space separation style. Regarding the interaction between hair and ornamentations, 'precedence of ornamentation' was pursued as ornamentations were recognized earlier than the hair itself. It means associative meanings of the surface effect were accompanied by emotions of 'intensiveness' and the pursuit of the attractive style. As for the interaction between hairstyle and costume, there were many cases of pursuing 'continuity' mutually and visually by connecting the hairstyle and the costume. Aesthetic characteristics of exaggerated hairstyle were inferred as 1) the expression of the sprite of the age(i.e. art, culture, politics, society, ideology, religion), 2) symbols of wealth, class, authority, and excellence, 3) pursuit of addicted desire to ornament, and 4) harmony through continuity with costume. This study verified that hairstyle was connected as a part of costume, or formed as a way to express deeper human psychology beyond just a part of a costume. It was also confirmed that hairstyle was an expressive method to express the spirit of the age, such as art, culture, society, religion, ideology.

신체적합성을 고려한 제깅스(Jeggings) 패턴 개발 -20~24세 여성을 중심으로- (Development of Jeggings Pattern Considering Body Fit -Focus on 20-24 Year Old Females-)

  • 이규선;최정욱
    • 한국의류학회지
    • /
    • 제38권5호
    • /
    • pp.675-689
    • /
    • 2014
  • This study developed an ideal jeggings pattern with an improved body fit for 20-24 year old females. The results of the study are as follows. First, samples for wearing test were made using jegging patterns from three manufacturers; subsequently, one pattern with a relatively outstanding body fit was selected from the first test. The selected pattern suggested a tight knee, belly, and crotch, high front waist line, and low back waist line. The side lines were also lean to the front; consequently, the front hip width was extended for 0.5cm for more space around the belly and the extended front knee part for 0.2cm to increase moving suitability to fix the leaning side lines. A 1cm front waist line was extended for 0.5cm to fix it lower; in addition, the back waist line 3.0cm was extended for 0.5cm to heighten it. The crotch width was also extended for 0.5cm to add more space. The second wearing test for the fixed forms were evaluated for their outstanding features in appearance as well as moving functions that were proposed as final jeggings forms. The results of the study suggested a jeggings pattern with a better body fit using manufacturer patterns that can be used as basic data for pant patterns with better fitting using various stretch fabrics.

TV 사극 <이산>의 현대적 감각의 남자 궁중의상디자인 개발 (The Design Development of Man's Royal Costume in TV Historical Drama )

  • 이금희;이혜란
    • 복식문화연구
    • /
    • 제17권6호
    • /
    • pp.1112-1128
    • /
    • 2009
  • The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

  • PDF