• 한국전통조경학회지
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• 제31권1호
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• pp.1-12
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• 2013

한국의 전통 석가산(石假山)은 고려시대 창안되어 조선시대로 계승된 우리의 우수한 석정문화(石庭文化)이다. 이 연구는 고려시대와 조선시대 석가산 문화가 시대 흐름에 따라 석가산 내면에 어떠한 함의성(含意性)을 표상하며 계승되어 왔는지를 분석하였다. 고려시대 산악형 풍경을 모사해 창안한 한국의 전통 석가산은 괴석을 소재로 진산(眞山)을 모사한 작은 인공가산(人工假山)을 만들었다. 그리고 산수풍경을 축경적(縮景的)으로 재현하고 심산유곡의 흥취를 집안에서 와유(臥遊)하며, 풍류를 즐기는 동시에 정서적 안정과 치유라는 실용적 측면의 경물(景物)로서의 심미적 풍경의 산수체험을 석가산을 통해 경험하였다. 이러한 석가산은 내향적으로는 경물 자체의 형식미를 초월하며 불로장생을 염원하는 삼신산(영주, 봉래, 방장)과 도교적 신선사상이 응축된 오악(숭산, 태산, 화산, 항산, 형산)을 표상하며, 신선계(神仙界)를 이상향적으로 나타내고자 하였다. 또한 석가산을 대하며 유교의 요산요수(樂山樂水)의 교훈을 실천해 심성을 가다듬고, 중국의 명산명호(名山名湖)를 모방하는 등 석가산 내면에 다양한 함의성을 포용하며 변천, 발달하였다. 한국의 전통 석가산은 심미적 풍경의 산수체험은 물론 실용적 경물로서의 형식미를 초월하며, 석가산의 심오한 상징적 함의성을 표상하여 무한한 상상의 관념적 공간으로 승화시켰다.

• 한국콘텐츠학회논문지
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• 제8권12호
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• pp.190-197
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• 2008

기계적 명령어인 정경 (Threading)과, 트레들링(Treadlings)을 토대로 디자인해야 하는 직조 디자인은 표현의 한계성이 강한 것이 특징이다. 때문에 연구되어진 많은 한국 전통문양 자료들 중에서도 특히 떡살에 의해 한계 지어지는 떡살문양의 표현이 서로의 접목을 용이하게 하여 떡살문양을 선택하여 디자인의 컨셉을 잡았다. 특히, 문자문양과 기하학문양은 문양의 일반적 특징인 아름다움의 추구보다는 자연에 대한 인간의 두려움과 경이로움을 토대로 하여 생겨난 종교적 갈망과 기원을 담고 있어 이러한 이미지들을 토대로 트윌(Twill)기법, 특히 그 안에서도 형태적 표현이 용이한 샐리낼슨(Sally Nielsen)의 로즈펫(Rosepath)의 정경을 중심으로 활용하여 한국적 문양을 직조구조로 디자인하였다. 이 연구를 통해 세계의 위버(weaver)들에게 우리의 문양을 소개하는 계기가 되고 우리나라 산업에서는 이러한 직물디자인이 산업체에서 활발하게 활용되어 고부가가치의 자산을 획득하고 우리의 우수한 문화를 상품화 하고 문화산업을 발전시키는데 도움이 되기를 희망한다.

• 복식문화연구
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• 제28권4호
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• pp.463-479
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• 2020

The purpose of this study identify the types and characteristics of Hanbok worn in lunar new year parade and Korean parade in New York over the past three years. As for the research method, I first collected domestic news articles, overseas Korean news articles, and literature reviews about the history of the Korean parade in New York and the events of each year. Second, I conducted a case study on Hanbok worn in the six parades from 2017 to 2019 using photo data collected through direct surveys, 'YouTube' video footage and news article photos. Third, I interviewed people related to the New York parade about the route of buying and renting the Hanbok in the New York area. The types of Hanbok shown in the Korean parade in New York can be largely classified as ceremonial, performance, and daily costume. There were 65 ceremonial costumes in all, with men wearing Dallyeong (official's robe) and Gorlyongpo (dragon robe) and women wearing Dangui (woman's semi-formal jacket), Wonsam (woman's ceremonial robe), and Hwarot (princess's ceremonial robe). A number of performance costumes were also worn by the Chwitasu bands, Nongak ensembles and fan dancers. Finally, of the 210 daily Hanbok, most men wore Baji (pants) and Jeogori (jacket), and women wore Chima (skirts) and Jeogori. The parade attempts to showcase the beauty of Hanbok, but the costumes repeat year after year, which can feel monotonous to onlookers. This research can be used as a reference to effectively utilize Hanbok in future Korean cultural events.

• 한국의상디자인학회지
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• 제7권2호
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• pp.61-74
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• 2005

Wonsam, a type of korean women's gown in Choseon Dynasty, was used as a small ceremonial costume for queens, crown princesses and princesses and as a grand ceremonial costume for royal concubines and wives of high rank officials. It was also worn as a wedding dress for commoners. In the families of illustrious officials, it was also used as burial accessories or garments for the dead. In this context, Wonsam is a formal dress for the people's most important four ceremonies of coming-of-age, marriage, funeral, and ancestor worship. It is worth emphasizing the costume since it was widely and importantly used by all ranks of women, from royal families to commoners. Through the Wonsam of An-dong Kim Clan's, we can see what the society was like at the end of Choseon Dynasty. First, a status system that strictly divided costumes for each class, was, in many parts, broken down. Second, the highly wrought patterns and texture of fabrics of the Wonsam reveal that it was granted from Court, or, if woven by the Kim family, it is considered to be produced by the Court's craftsman or through technical transfer, considering that the weaving skills used are as good as those in Courts. Third, regarding the precise needlework that is uncomparable to textiles used by other illustrious officials families, the Wonsam is considered to be granted from Court or, produced through the needlework skills that were handed down from needlewomen in Courts. The Wonsam of An-dong Kim Clan's has noble beauty in it, with outstanding weaving skills, fabrics, needlework and shape. Thus, it is no exaggeration to say that it has those qualities to be the standard costume that inherits the tradition of Korean people.

• 한국실내디자인학회논문집
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• 제17권6호
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• pp.111-119
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• 2008

This thesis is to make it clear that simulacre concept of is an important factor that provides the motive to make spaces and to make it clear that yard in Korean traditional architecture has more meaning of a container that contains the simulacres of life than formal aspects. Namely, focusing on the simulacres, among existing important factors that cause changes in architectural spaces such as structure, function, beauty, I shall make it clear that simulacre concept, which is a creation thinking of post-structuralism philosopher, Deleuze, is a logic that builds and changes spaces. Also, the purpose of this research is to investigate successive circularity of yard spaces with the mutual relationship between simulacre concept that has virtual multiplicity and yard in Korean traditional architecture, a space of infinite emptiness. When certain simulacres occur in the yard, the ambivalence of simulacres provides meanings to yard by affiliating numerous simulacre factors, then by combination among those meanings, yard get mutual dependence. This is an important core point that I have focused on the beginning of this research. This research has found out the successive circularity of yard based on the relationship between simulacres and the essence of yard. The meaning of this research is to have found out that yard has the meaning of "a bowl that contains the simulacres of life," going over the simple meaning as a space between door and fence. Also, the simulacre concept is thought to be discussed as a motive for creation of various spaces from now on.

• 복식
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• 제60권2호
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• pp.130-143
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• 2010

Hanbok industry is not based on a consumer-oriented market system, which is related to poor competitiveness in various areas, such as product planning, marketing, and flow of raw materials. The purpose of this paper is to design and conduct an empirical study on important aspects of consumers. experiences and perspectives about Hanbok, and thereby aims to provide much-needed guidance about ways to promote the Hanbok market. Out of 1065 questionnaires distributed, a total of 1039 was returned with responses and used for analyses. The respondent sample included consumers of various background characteristics in their residential areas, age, gender, education levels, and income levels. Cronbach's alpha and a factor analysis were employed for the reliability and the construct validation of the survey instrument. One-way ANOVA associated with post-hoc comparison tests was used to investigate differences across different demographic subgroups of consumers. The results show that consumers generally view Hanbok as one of the formal dresses, worn one or two times per year for traditional events or ceremonies. Consumers tend to show negative opinions about the pricing, and the inconvenience in cleaning and wearing Hanbok. However, consumers think very highly of the aesthetic values, the gracious styles, and the iconic identity of nationalism of Hanbok. This study suggests that Hanbok for modern consumers should be considered as clothing for a ritual, rather than clothing to reconstruct to be fitted to modern daily lives. Hanbok should be promoted as part of up-scaled and differentiated traditional cultures, as clothing that represents and enhances the traditional elegance and beauty unique to the Korean people.

• 패션비즈니스
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• 제24권2호
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• pp.1-16
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• 2020

Hijab as a symbol of women's oppression due to the opening and reform of Islamic State group, is becoming more diverse as younger generation begins to dress more freely than ever before, spreading the perception that it is a fashion item. In response, this research conducted a theoretical review about the history of hijab, various forms of hijab, and characteristics of hijab using relevant literature, media reports, and fashion media articles. As an empirical study, image-oriented photo data shared by Tehran Street Fashion from 2015 to November 2019 were analyzed separately by fashion majors into color, pattern, and hijab-making forms. According to the analysis, six different fashion images were categorized as romantic feminine, modern chic, natural elegant, classic formal, sporty casual and gorgeous ethnic. For Muslim women in the past, hijab was worn as a repressive and closed sense by the religious system. However, in modern times, it is a way to express one's style and ideas as a fashion item. It is also and a means to express one's thoughts and beliefs. Through aesthetic consideration of Hijab as a fashion item, it was found that it was a medium for freedom of expression and a medium for beauty and individuality.

• 한국의류학회지
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• 제14권2호
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• pp.85-97
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• 1990

This study investigates, through the Ka-rae-ban-cha-do(가예반차도) in the Ka-rae-do-gam­eui-gue (가예도감의궤), how the system of costume used in ceremony exchanged during the middle, late the Yi dynasty and in the period of introducing Wastern civilization. The procedure of the royal marriage is also studied here. The procedures of Ka-rae were divided into the six traditional etiguettes(륙예) : Nap-che (납채) , Nap-gyng(납징), Go-gi(고기), Chaik-bi(책비), Chin-young(친영), and Dong-roe(동뢰). The change of the general structure and characteristic of the costume used in the ceremony in Ka-rae-ban-cha-do are as follows: The costume in Ka-rae-ban-cha-do can be divided into the Guard costume (호위복식) and the Ceremonial arms costume (의장복식). The most formal attire of the Guard costume, Yangkwan-Chobok (양관-조복) and Samo -Danryeong(사모-단령) with Huygpai(흉배) can be seem only in the Ka-rae of late king's. Of the Ceremonial arms costume, the most outstanding was Hongkun- Hongeui (홍건-홍의), which showed up in almost all Ka-rae-ban-cha-do. Heukkun-Changos$\cdot$Deogrei (흑건-창옷$\cdot$더그레) were worn as well. In the style of costume emphasis convenience and practicality rather than on beauty, because they had to carry the arms used in ceremony with them nevertheless by using primary colors it was very colorful. This costume in Ka-rae-ban-cha-do has little difference, but great changes are shown in Sunjongsunjongbi Ka-rae-ban-cha-do (순종순종비가례반차도). Most costume of the past was replaced with western hat and suit, so the duplicate state of our costume and western costume came into existence during the period of introducing western civilization.

• 디자인학연구
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• 제17권3호
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• pp.91-100
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• 2004

자연은 끊임없이 신비한 산물들을 대량생산해내는 만물의 공장이며, 그 산물들은 끊임없이 변화하고 있다. 또한 자연은 인간이 살아가는 환경을 둘러싼 미적 아이디어를 끊임없이 제공한다. 그러므로 인간은 자연을 대상으로 시각적 관찰을 통해 표현하고자 하는 자연스런 충동에 따른 조형을 추구하게 된다. 자연에 대해 인간이 얻을 수 있는 미적 체험은 그 대상에 대하여 시각적으로 연구할 때, 연상에 따른 형상들을 의식적으로 떠올릴 수 있게 해주는 미학적 변형의 원천인 것이다. 수없이 변화된 자연물과 마찬가지로 의식적으로 경험되는 인 공의 산업 생산물은 자연물과 구조적, 형태적 질을 공유하며 조형적 균형을 위한 의미를 갖게 된다. 자연을 관찰하여 질서나 원리를 통해 디자인에 적용시키고자한 시도는 바우하우스 이후 디자인의 한 방법으로서 부분적으로 실천되어 왔지만, 자연에 대한 연구과정이 서로 분산된 영역에서 진행되어왔다. 최근에 이르러서 이러한 연구는 관련 분야간에 복합되는 입장에서 매우 중요시되고 있다. 따라서 자연유기체의 다양한 범주들을 본 연구에서는 단지 부분적으로 제품디자인 측면에서 고찰하지만, 종합적으로 디자인학적 조형성과 자연유기체의 조형학적 접근은 기본적으로 중요한 것이라 생각하여 본 소고에서 고찰해 보고자 한다.

• 비교문화연구
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• 제22권
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• pp.99-123
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• 2011

This paper extracted formal characteristics appearing repetitively in Kim Ji Heon's scenario works making a study of them and examined them from the perspective of the aspects of the confrontation between the author' external environments and the world of his creation. This viewpoint comprehensively implies the two aspects of the acceptance of public needs and the creativity his scenarios have in universal characteristics of the film and scenario community where he made his debut as a scenario writer and played activities most actively. In addition, we investigated how literary features are expressed concretely in the world of his works who has been evaluated as a writer with excellent 'literary value.' His scenario world whose base is humanity and existential questions also performs a function as the reading scenario by realizing one literary perfection in itself and poetic description rather than referential function as a film script, which indicates the aspects of values his scenarios have in the existing creation practice focused on story telling, and especially, in the case of "Manchoo-Late fall" it was found that it expanded the areas of literary value through the beauty of modern form. Through this analysis it is seen that the need was exposed to reconsider problematic recognitions that he was not able to be positioned properly as a writer despite the excellent literary values of Kim Ji Heon's scenarios. This study has a meaning as a start in our research climate where the research on Korean scenario writers is not made in an earnest way but it is necessary to keep making more thorough studies including other scenarios which are not organized into the collection of works, and it is also necessary to make a comparative study with cinematized film texts in our view.