• 한국의류산업학회지
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• 제7권4호
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• pp.387-393
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• 2005

This study compares shamans' costumes of Korea with those of Siberia and Central Asia. It also investigates the meaning of shamanism and shamans,the relationship of Korean shamanism to shamanism, and the genealogy of Korean shamanism. For collecting and analyzing data of the research, literature reviews, field studies, and the investigation of historical relics are mostly used. The following are the major findings of the research: Through the comparison of shamans' costumes of Korea with those of Siberia and Central Asia, this research finds out some similarities and differences in the costumes. Both Korean shamans and Siberian and Central Asian shamans wore shaman's costumes and used utensils like bells or mirrors when they perform a religious service. On their costumes, they both used an element which stands for birds. However, they were different in terms of the materials or styles of the costumes, of the function of the costumes, and of the decorating with ornaments. The differences in the materials or styles of the costumes, different functions of the costumes, and using ornaments or not can be viewed as a general phenomenon, which is resulted from different environments. The soul's departing the body or the possession or a mixed method can be considered as mere variations due to regional or cultural differences. In conclusion, based on the comparison of the costumes of shamans of Korea with those of Siberia and Central Asia, the shamans of Korea and Siberia and Central Asia share the same origin. And the genealogy of Korean shamans can be said to be originated from the northern shamanism.

• 한국의류산업학회지
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• 제16권6호
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• pp.835-848
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• 2014

This study investigated the relationship between inner characteristics manifested through the characteristics of artistic styles and formativeness manifested through external expressions of architectural styles in the early Medieval Period and early Renaissance Period. The method applied to this study is as follows. First, a historical document research was conducted centering on academic theses, related books, and academic databases; in addition, a case study identified the aesthetic characteristics of women's clothes. The conclusion of this study is as follows. First, the following is the analysis of the relationship between the artistic mode and architectural formativeness in the early Medieval Period and early Renaissance Period that represent a turning point in artistic paradigms. Second, the inner characteristics and eclecticism of the artistic mode literally appear in the formativeness of architectural style in the early Medieval Period, and the eclecticism in the architectural style appears to be expressed through a combination with new styles based on the application of the retro mode such as the eclectic adoption of cultural styles of various regions based on the tradition and technology of ancient Rome. Third, the trend of the aesthetic characteristics commonly appear in the modern style of expression related to the aesthetic characteristics of western women's clothes in the early Medieval Period; in addition, the early Renaissance Period was analyzed as decorativeness and respectively manipulability.

• 복식
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• 제56권2호
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• pp.17-31
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• 2006

This study is tried to identify the changes in modern Hanbok for the past five decades through the literatures and actual materials such as the First Ladies' costume. In Hanbok fashion, there is a trend that influenced by politics, economy and culture just like in western fashion. After liberation from the Japanese colonialism, the most important factors in Hanbok fashion were economic factors caused by the development of textile industry and the dressing attitude of the First Ladies at that time. In 1950s, a modified Hanbok that is easy to wear was popular. It was partly because of the west oriented atmosphere after the Korean War and mainly due to the practical dressing attitude of First Lady, Francesca. In 1960s and 70s, former First Lady Yuk Young Soo who loved and had good taste for Hanbok led the fashion. At that time, high ranking female social leaders as well as general public usually wore Hanbok on formal occasions. Therefore, textile industry for Hanbok developed a lot and tailored shops that specialize Hanbok emerged. In 1980s, as the economy got better, Hanbok was upgraded and it became more luxurious. Traditional Hanbok was revived through a historical investigation. Additionally, the former First Lady Lee Soon Ja helped fostering a luxurious mood as she wore a Hanbok as a formal dress. After 1988 Olympic Games were successfully held, the importance of the traditional culture was emphasized in 1990s and Hanbok followed retro trend rigorously through the academic approaches including a dressing history. Hand painted and naturally dyed Hanboks were strong in this period. Former First Lady Kim Ok Sook's sophisticated Hanbok attire partially had effect on this mood. However, From the late 1990s Hanbok became less popular. It was partly because the former First Lady Son Myoung Sun and Lee Hee Ho preferred western style dresses and did not play a role as Hanbok fashion leaders.

• 보존과학회지
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• 제30권2호
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• pp.149-156
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• 2014

기존에 사용되던 Methyl bromide가 환경오염의 문제로 인해 규제대상이 되면서, 이를 대체할 친환경 방제처리방법에 대한 필요성이 대두되었다. 따라서 식품분야 등에서 방제의 목적으로 사용되어온 저산소 및 열처리 기술을 문화재 생물피해 방제 분야에 적용하고자 한다. 저산소처리법은 질소가스 주입으로 공기 중의 산소농도를 낮추어, 열처리법은 가온 또는 냉각을 이용하여 충 균을 치사시키는 방법이다. 본 연구에서는 목조건축물과 관련된 재질인 목재, 안료, 지류, 섬유 등에 저산소처리법과 열처리법을 적용하여 평가하였다. 저산소처리의 재질안정성 평가 결과 목재의 함수율이 약간 감소하였으나 자연회복력을 기대할 수 있을 정도인 것으로 확인되었으며 안료, 지류, 섬유의 색차 및 강도는 안정하였다. 열처리법 적용 시에는 안료의 박리현상이 관찰되었다. 저산소처리법과 재질에 안정한 온도조건에서의 열처리는 기존에 사용되어온 화학적 처리방법 문제의 대안으로서 충분히 고려 가능할 것으로 보인다 .

• 보존과학회지
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• 제30권4호
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• pp.329-334
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• 2014

고대 섬유의 과학적 분석은 그 시대에 사용된 재료의 특성 및 각 지역의 직물문화, 제직기술 등을 파악할 수 있는 중요한 자료를 제공한다. 또한 수침 고목재의 수종분석은 보존처리 방법의 설정뿐만 아니라 당시의 수목환경, 목제품의 종류에 따라 선호되던 수종, 외래수종을 통한 당시의 교역 교류 등의 정보를 확인할 수 있는 과학적인 분석방법이다. 충남 연기군 동면 합강리 유적에서 청동합 내 부장상태로 출토된 직물류와 목제 빗에 대하여 섬유 및 수종의 종류를 분석한 결과 직물1과 직물3은 쐐기풀과(Urticaceae)의 저마(Boehmeria nivea ; Ramie), 직물2는 아욱과(Malvaceae)의 면(Gossypium herbaceum), 목제 빗은 자작나무과(Betulaceae) 자작나무속(Betula spp.)으로 식별되었다. 이번 연구 결과는 향후 고대 섬유 및 수종을 확인하여 비교 연구하는데 도움이 될 것으로 기대된다.

• 한국의상디자인학회지
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• 제17권3호
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• pp.13-27
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• 2015

The purpose of this study is to understand the general process from textile design till fashion design and to understand the relation between the body structure by using the x-ray technique. The research method was to see background of the anatomic feature and human skeletal X-ray projection through historical aspect of publications, the Internet, and paper. In terms of production, in order to present a design that takes into account the unique silhouette of the human body without distorting the shape of the human skeleton, X-ray images that were reconstituted using a computer graphic tool (Photoshop CS) were reproduced into the fabric as intense images through the digital Textile Printing technique that is capable of expressing fine and delicate details, and applied into the design. An original design was developed that emphasized the impression of the human body being projected and the shape of the human skeleton realistically expressed in terms of silhouette and detail. The results are as follows: First, Body has a anatomic formative characteristic and its formativeness becomes as a great motive for the artistic expression and thereby it becomes more unique and available for new design expression. Second, Using the 'body frame' as the motive of the research, there's mainly tried to make an unique expression. Third, according to reconstructing human skeletal X-ray projection by using Adobe Photoshop CS2, it can be expressed strong and unique design. Forth, DTP which is being used as an essential technique, expresses the body frame realistically and being used the special type of functional product and silk. Likewise by discovering the diverse formativeness of our body frame and reflecting the sense of humanity into the pieces there's been able to make and develop an unique fashion design. I sincerely hope there is a hug progress in this research in this area.

• 한국의류산업학회지
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• 제5권5호
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• pp.481-494
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• 2003

The Gamrotenghwa of the Choson Dynasty is a unique genre of buddhist painting in that the destiny of the dead souls and the guidance to nirvana are expressed in reality. More than 50 of the Gamrotenghwa are known to be present, and the lower part of the paintings includes a wide assortment of folk customary scenes reflecting the social life style of the time when the painting was drawn, such as difficulties in life. public life, punishment and war. Changes in the costume of the people shown on the customary scenes of the Gamrotenghwa according to the time based changes in painting style were investigated in this study. The results are summarized in three points. First, the costumes of bureaucrats showed a tendency of preservation without any major changes in the painting. On the other hand, costumes of public and entertainer in the scenes were very close to those worn by the people at that time. The realistic description of public life in the painting may establish the value of the Gamrotenghwa as the historical documents. Second, the costume of the people in the painting showed a dual structure as the social positions; bureaucrats wore various official hats, large coats and belts to expose their social prestige. while the general public wore simple and convenient clothing which is divided into shirt and pants. The dual structure of the costume in the painting is in well accordance with that of the later period of Choson dynasty, suggesting that the customary scenes in the painting represent the social life style of the period. Finally, the customary scenes in the Gamrotenghwa are very variegated. which shows a variety of beauty of wearing even though they look coarse in a sense. The diversity of wearing beauty in the picture may contribute to the recreation of the beauty of shape in the new design of Hanbok.

• 한국의상디자인학회지
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• 제17권2호
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• pp.63-78
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• 2015

The purpose of this study is to compare the style of clothing by type of the Goguryeo and Xianbei Tribe based on the examination of the literature centered on the historical relationship between Goguryeo and Xianbei Tribe. The research results are as follows. First, it was found that both the apparels of Goguryeo and Xianbei Tribe had hemp cloth with the V-neckline with the blocked front part and hemp cloth with the open front that is worn by overlapping the straight collars of the upper garment. Both men and women wore the garment of the straight line collar that is worn by folding towards the left or right, or upper garment of the round shaped collar. Women wore an upper garment with short sleeves on top of the upper garment of Korean traditional clothes while men wore pants for the lower garment, and women wore skirt and apron with triangular cloth decoration on top of the skirt. Second, Goguryeo Anak Tomb No. 3 mural painting(year 357) shows that apparel worn by the lady who is the wife of the owner of the tomb is similar to the apparel worn by the lady in the lacquer painting for folding screen of the Sima Jinlong Tomb ancient painting on the woman of chaste reputation in terms of the form and structure.

• 한국의류산업학회지
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• 제6권6호
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• pp.723-730
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• 2004

The purpose of this study is to speculate on the history and the meaning of so-called "princess fashion" based on the feminist's viewpoint. While many designers in Korean fashion world have fostered the trend of princess fashion, relatively little insight has been developed regarding its socio-cultural meanings. For this problem, the researcher traced the historical background and the development of the princess fashion in both the western and the Korean fashion world. As a case of the princess fashion study, Andre Kim(a renowned Korean designer)'s collection was selected and analyzed since he has often been a central figure for the princess fashion trends in Korea. Here the operational definition of the princess fashion is the lavish dresses designed based on the western court dress styles. As a result, the researcher found that the princess fashion was originated from the eighteenth century in France. In the nineteenth century, male designers took over the role to make extravagant dresses such as empire and crinoline dresses which became the prototypes for the princess fashion. In Korea, the western court dress style was introduced at the end of the nineteenth century and it became a uniform of prostitutes during the Korean War. By analyzing Andre Kim's collection, it is found that his romantic dresses imitated the nineteenth century court dresses. Therefore, from the feminist's viewpoint, his princess fashion is a mere reproduction of anachronistic styles reflecting inferior and passive images of women. The researcher draws a conclusion that today's fashion should transcend the princess fashion that signifies the female's submissive-masochistic roles operated by the male's sexual expectation.

• 자연과학논문집
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• 제8권2호
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• pp.237-255
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• 1996

패러디는 선행하는 친밀한 소재가 패러디스트에 의해 모방되면서 시작된다. 이 때 사용되는 기법은 모방, 유사, 변형, 과장, 아이러니, 파라독스등 다양하며 패러디스트의 의도와 능력에 따라 여러 가지 기법으로 풍자, 조롱, 경명, 의외성, 우스꽝스러움, 존경, 경외심 등과 또 이 모든것이 혼합된 어떤 효과를 주어 선행양식과 다른 비평적 거리가 있는 반복으로서 새롭게 창조 되는 것이다. 또한 패러디는 포스트모더니즘적 특징을 다분히 내포하고 있으므로 포스트모더니즘적 미의식이 팽배해진 화경에서 효과적인 표현양식으로 널리 사용되어지며 그 요구 또한 급증한다. 예술의 한 장르로서 복식에서도 패러디 기법은 역사적 입장으로서 과거를 비판적으로 재구성하여 새로운 복식을 창조하는 한 형식으로 널리 사용되고 있다.