• 한국의류산업학회지
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• 제9권5호
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• pp.486-492
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• 2007

The purpose of this study is to investigate the characteristics of the men's costumes of the ruling class of the Heian period by studying the costumes demonstrated in the ${\ll}$Won-si-mul-eo-heo-gwon${\gg}$, a picture album of the Heian period. The findings of this study are as follows. The costumes shown in the ${\ll}$Won-si-mul-eo-heo-gwon${\gg}$, can be classified into two types. One of the types is the costumes that were newly made in the Heian period such as Jik-eui, Su-eui, Ha-seub, Sok-dae-jang-sok. The other type, period including Omoja, Ji-gwan, Pyo-go is the costumes that were made by modifying the costumes of the previous. The costumes of the Heian period were evolved into a new type of outfit by changing the way of wearing them, their form, and their color. The costumes became various in types, became bigger in form, and used various colors. As a result, the costumes of the Heian period were developed into more colorful and fancier compared to those of the previous period. The costumes of the Heian period can be interpreted as japanized-embracing and japanizing the culture of the continent-costumes of the previous period rather than as simply copying the costumes of the continent. The driving force of this phenomenon can be analyzed as the effect of japanization that was widespread in the culture in general of the Heian period. This japanization made it possible to create peculiar and genuine costumes of the Heian period.

• 한국패션뷰티학회지
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• 제4권4호
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• pp.7-15
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• 2006

Japan's modern fashion, which already became distinguished in the world fashion market, creates originality by identifying its own color as well as shape and details from its tradition. The purpose of this study was to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of Heian period in Japan and searching them in contemporary Japanese fashion. The scope of study was the perceived meaning of color in Heian period and Japanese contemporary fashion. In the methodologies, the literature and the empirical study focused on Heian's culture, including art history, ethnology, and the history of clothing and the contemporary fashion collection. Japan's original middle colors and intermediate colors began to be created in Heian period. The color aesthetic characteristics of Heian period appeared the beauty of compound color, layered color, overlapped color in Japanese contemporary fashion.

• 한국의류산업학회지
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• 제12권1호
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• pp.31-37
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• 2010

The purpose of this study is to investigate the causes of clothes phenomenon of the ruling class women on the Heian period of Japan in the aspects of politics, economics, society, culture, and religion. The findings of the study are as follows. The main characteristics of the Heian period of Japan may include a rare sense of internationalism, low sense of nationalism, and frequent cases of political intrigue. However, noble culture, centered on royal court, was flourished and it enabled to develop sophisticated and graceful culture. During the Nara period and the Heian period (from $8^{th}$ to $12^{th}$ century), there were enormous changes in the clothes, starting from the mid $10^{th}$ century. The clothes of the ruling class in the Heian period underwent changes from the imitative clothes-imitating the clothes of the Tang age of China- to Japanesque clothes-adding the aesthetic consciousness of Japanese ruling class people. Particularly, the clothes of the ruling class women became massive, majestic, and decorative. The changed clothes had also features such as layered look, utilizing underwear as outer garments, using a wide variety of colors, and using hard and solid materials to make clothes. It can be concluded that the clothes of the ruling class people in the Heian period were affected by plural factors such as national and international political situation, economics, society, culture, and religion. The clothes were used by ruling class people as means of expressing their noble and sophisticated beauty, which led to produce humanistic beauty. The Heian period can be described as an era of the highest reach of humanity.

• 한국의류학회지
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• 제19권4호
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• pp.663-670
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• 1995

After I stated the characteristics of the ancient Buddha Banners of Shoso-in and Horyuji of Japan, 1 searched for the possible countries they could have been made in. 1 concluded that Japan imported above mentioned Buddha Banners from Korea from the fallowing reasons: 1. Almost no Banners in Heian Period. 2. Difference between Banner patterns of Nara period and them of Heian period. 3. Japan almost always imported Buddhist implements including Banners from Korea from 7th century 4. Resemblances between kinds and forms of the patterns of Shoso-in and Horyuji Banners, and them of Silla period.

• 복식
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• 제50권5호
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• pp.159-169
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• 2000

The purpose of this study Is to research the clothing and textiles recorded in Heikemonokatary which was written from 1131 to 1198. The research materials are 36 kinds of men's clothes and ornaments, 6 kinds of women's things, 10 kinds of colorings and 6 kinds of textiles. The results of this study are as follow : 1. There were many advanced warriors' clothes. Especially the helmets and armors were very gorgeous. The shapes of warriors' knives, arrows, shields were concretely described. The women's clothes were mostly unchanged from Nara period and Heian period. Women wore clothes on their heads when they went out. 2. One particular thing in color is that the brown color of that period was navy blue which is symbolic of victory. There were some textiles which was woven with the boiled silk thread in the latitude and the raw silk thread in the longitude. Besides, the blackening of teeth, the bobbed haler of boys, and the celebration of one's corning of age were described in the book.

• 복식
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• 제52권2호
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• pp.125-137
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• 2002

This study proved that Japanese skirt(裳 'sang') during 5-8 century was introduced by korean emigrants. The skirt of the Tang dynasty(7C) which used to be worn among Japanese upper class in the Nara period(8C),is understood to be transferred through Korean as it was popularly worn in the Shilla Dynasty at the same time. Because Japan was not able to trade with Tang during 4-9 century, unless pass through the Korean peninsular, it suggests that Japanese costume was affected by Korean style of costume. At the later Heian period in Japan, Kosode was mainly worn among Japanese and wearing a skirt has to be abandoned. Instead, only the train, a part of skirt, remain as a decorative part on the back of Japanese woman's formal dress and it continued until now.

• 복식
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• 제31권
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• pp.17-31
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• 1997

The Heian Period(794-1192) was the period when luxury and elegance flourished. Gorgeous colors were adopted for the costumes and an el-egant assortment of colors prevailed. Representatiove of such costumes is kasane-no-irome. The world Kasane-no-irome originally came from two colors on both sides of one of the japanese kimonos called Uchiki. In later times it turned to indicate the combination ef-fect of colors of several Uchiki's worn in layers one over the other. This paper describes in de-tail the kasane-no-irome in both meanings. In so doing I distinguish two different kinds of kasane-no-irome using a Chinese character for the formed and for the latter though both are pronounced Kasane in the Japanese language. Part one of this paper which concerns the color combinations of presents typical 148 samples through reproduced dyeing clothes by Matumoto. Part two describes the color com-bination of which was so called Junihitoe. It presents typical 41 samples from reproduced dyeing clothes by Matumoto. The purpose of this study was to investigate the characteristics of color distribution and the structure of color combination in Kasane-no-irome. Therefore we obtained the following results in Kasane-no-irome. 1. The color combination of Kasane-no-irome came from the natural color harmony there-fore the names of kasane-no-irome which adopt the names of flowers and leaves of the foure seasons. Accordingly the seasons for wearing them are fixed. 2. In the hue the most frequent appearance was green. And in the tone the most frequent apperance was moderate. 3. In the color combination the most fre-quent type were monochromatic combination and contrast combination.

• 복식
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• 제54권3호
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 비교문화연구
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• 제53권
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• pp.25-49
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• 2018

본고는 미시마 유키오(三島由紀夫)의 마지막 작품인 "풍요의 바다(豊饒の海)" 4부작 중 첫 번째 작품 "봄의 눈(春の雪)"이 헤이안 시대(平安時代)의 '미야비(みやび)'의 세계를 재현하기 위해서 다양한 고전의 모티브를 응용하고 있다는 점을 밝힌 것이다. 먼저 작자의 일본문화에 대한 인식을 그의 다양한 평론과 에세이를 중심으로 살펴보고, 이러한 그의 문화론을 기반으로 "봄의 눈"이 헤이안 시대의 특정한 작품만을 참고로 한 것이 아니라 그 시대에 형성된 화형(話型)을 활용하고 있다는 점을 분석하였다. 또한 이 소설의 배경은 다이쇼 시대(大正時代) 초기인데 이 시기는 일본의 역사적 흐름과 맥을 같이 하고 있다는 점에 주목하였다. 마지막으로 이 작품의 제목인 '봄의 눈'은 작자 미시마가 주목한 "고킨슈(古今集)"의 기노 쓰라유키(紀貫之)의 와카(和歌)에서 보이는 표현으로, '봄의 눈'이 가지고 있는 허무함뿐만 아니라 이 와카 특유의 미(美)에 대한 동경이 소설에 반영되고 있다는 것을 알 수 있다.

• 고문화
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• 62호
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• pp.87-112
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• 2003

본 고찰은 일본복식 중 고소데(小袖)의 역사와 복식문양의 의미를 알아보고자 했다. 현재 입고 있는 기모노의 원형은 헤이안(平安)시대 상류층에서 착용되었던 고소데에서 비롯되며 오닌(應人)의 난 이후 모든 계층이 입는 복식이 되었다. 원래 아무 장식이 없는 속옷이었던 고소데는 겉옷이 되어감에 따라 점차 화려한 장식이 생기게 되었고 하나의 예술작품으로 완성되어 갔다. 고소데의 문양에는 다양한 일본문화의 상징이 나타나 있다. 자연에서부터 일상생활 용품, 전설, 문학에 이르기까지 풍부한 소재를 일본 특유의 고유함과 예술적인 감성으로 표현했다.