• 건축역사연구
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• 제14권1호
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• pp.21-39
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• 2005

This study is to examine the Severe-Ornament (Vyuha :Sanskrit) of wooden pagodas in Shilla period in order to assume a detailed shape of wooden pagodas called the palace style, the multi-story style, the towered namsion style, that were built at the temples in Gyeongju during Shilla period. The Severe-Ornament had been used traditionally by installing a Buddhist image, Guardians, Sarira and by printing a color. The other hand, The roof tiles and tiles were annexed to the Severe-Ornament so as to enhance the value of the wooden pagodas. The Vyuha had been used not only to install a highly valued Buddhist image in the wooden pagodas but also to represent an important part of ritual art of Silla period. Therefore, it was possible to find out a variety of details of the wooden pagodas in Shilla period.

• 한국콘텐츠학회논문지
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• 제7권9호
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• pp.62-71
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• 2007

인류는 생존과 더불어 먹는 것 다음으로 아름다움에 대한 욕망의 표출로 신체장식을 하기 시작하였다. 이러한 장식은 수치심이나 추위, 더위 등 외부로부터 신체를 보호하기 위한 의복보다 먼저 시작되었으리라 추정된다. 이는 장식 유물이 복식사에 앞서 출토되고 있기 때문이다. 일예로 현대문명의 혜택을 전혀 받지 못하는 오지의 원주민의 경우, 의복이나 도구의 본능적 기능보다 장식이 화려한 경우를 볼 수 있다. 이러한 장신구의 역사는 원시시대의 동물의 이빨 등의 사냥물에서부터 현대의 신소재에 이르기까지 다양하게 발전되어 왔다. 본 논문은 한국장신구의 시대적, 재료적 자료를 통하여 장신구 문화콘텐츠를 연구함으로써 문화유산을 통한 문화상품을 개발하고 발전시키는 과정으로 장신구 콘텐츠개발에 기여하리라 본다.

• 한국의류산업학회지
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• 제9권5호
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• pp.478-485
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• 2007

This survey is about the disposition of ornament for the traditional women's Jegori and Chima in North and South Korea. And the results are as follows: Disposition of part was used a lot in Jegori and Chima by both North and South Korea. In the existence of ornament, the number and range decorated part and a type of disposition, there were the differences between North and South Korea. There were not many Chimas with ornament in South Korea, which means that South Korea focused on decorating Jegori. The number and range of decorated part in South Korea were many. Disposition type of Jegori ornament in South Korea was various but in North Korea disposition of type of Chima ornament was various. Compared to the traditional disposition, South Korea's Jegori tended to follow the traditional disposition. In case of Chima in North and South Korea and Jegori in North Korea, the proportion of traditional disposition, altered traditional disposition and modern disposition was little different.

• 건축역사연구
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• 제15권4호
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• 한국의류학회지
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• 제37권5호
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• pp.691-703
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• 2013

The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.

• 한국가구학회지
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• 제18권4호
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• pp.337-344
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• 2007

This study explored contemporary furniture theory and practice in Postmodernism mentioned as one of a kind furniture based on ideas from the tradition since Modernism. Qualitative conceptual analysis as the principal methodology was used to explore the postmodern furniture adopting or reflecting ornament from the tradition presented as postmodern furniture designers' point of view differently and variously. Thus, the examples about one of a kind or one-off furniture were dealt with Postmodern ideas appeared in the doubt over Modernism, Post-Modern furniture ideas from the traditional and Modern architecture, ornamental ism, Postmodern theorists, Postmodern furniture and the criteria. As a result, although one of a kind furniture design appealed newly from and based on the ornament of the tradition has been identified as new design like one of a kind furniture which shows lack of function, the piece with the meaningful ornament makes people happier in their daily life. Hence, one of a kind furniture, a work of art, has been required as striking a balance both function or comfort and aesthetics or beauty which makes the people more enjoyable.

• 복식문화연구
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• 제16권2호
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• pp.305-318
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• 2008

The purpose of this study was to analyze the appearance management behavior and ornament wearing practices in relation to the body satisfaction and body image. The questionnaire was administrated to 261 female college students in Chungbuk area. Most respondents were dissatisfied with their bodies, especially with weight and lower part of their body. Among three factors of body image, they showed a great concern about appearance of body itself than body shape management and physical attractiveness. Most female students attempted ear-piercing and hair dyeing as appearance management behavior. They preferred to wear earrings, necklaces and rings, in the order. There was a significant relationship between body satisfaction and body image. Also, there were significant relationships among body image, appearance management behavior, and ornament wearing practices.

• 한국가구학회지
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• 제14권2호
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• pp.63-74
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• 2003

This study explored roles of the ornament in contemporary furniture that contemporary furniture designers make their furniture different, convey a metaphorical message, and competitive. Contemporary furniture involved in the ornament is decorative, beautiful, and characterized by craftsmanship through eclecticism and pluralism reestablished in furniture design in the postmodern era. Also, the ornament has been presented in the context of the blurring of art/craft distinctions. Thus, the contemporary furniture is called as art furniture/craft furniture which is diverse from minimal decoration to maximal decoration. Hence, by using all of the ornamental context, the furniture designers try to satisfy and communicate with the largest possible number of people, and have numerous opportunities to select according to their characteristics or taste. Finally, their furniture in the futuristic mode may be cross-cultural work that everybody in the earth can understand, enjoy, and appreciate in his/her daily space through his/her everyday use.

• 복식
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• 제4권
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• pp.39-59
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• 1981

This article briefly researched the Picture of Welcoming the Governor of Pyongan Province painted by Kim Hong-do, penname Danwon(1745-1818?). The Picture was composed of three parts and its historical and pictorial back-ground were reviewed firstly. And later the dress and its ornament appearing on the Picture were studied. In the historical viewpoint of dress and its ornament, the Picture shown all sorts of dress from lower class maids and servants to higher officials-dignatories and governor, and dealt with nearly all dresses. In order to support and to make better understand the dresses of that age, some Korean literary works of the same period depicting the dress and its ornament were also selected. This article dealt with the dress and its ornament. especially that of 18th century of the Yi Dynasty, and comparatively studied for our folk painting with literary works. Also the picture enabled to make this study was an important data of our old dress and its ornament. This painting was considered as one of our cultural treasures. Several conclusions drawn out from this study as followings: 1) In male and female dress of lower class people; male dress was consist of trouser and coat, and coat, and over the coat SOCHANGYI were used. Female dress was basically consist of skirt and these were white color of their favourite. Mainly simple color was used for clothing and its dress style were CHAKSOO-HYONG (narrow sleeve style) which convenient for a work. 2) Yangban's dress was consist of trouser, coat and over the coat, usually DOPO(over-coat) were used and some case JICKRYONGPO (a sort of over-coat) or CHANGYI were also used. These were GWANGSOO-HYONG (wide sleeve style) of inconvenient for a work. 3) In head-gear, there was no difference of the higher and the lower. They usually used HEUC-KRIP (black Korean hat). The OCKJUNGJA, GONJAKMI (peacock tail), HOSOO (tiger beard), and YOUNGJA (chin strip) were used according to officials ranks as head-gear's oraments. 4) Local petty officials used ordinary dress and CHUPRI (warn-dress) were also used by them, and military officials used war-dress of tight sleeve. 5) The belting of over-coat are different in color according to official grade. The higher grade wore red-wide belt, but generally black narrow belt for ordinary officials. 6) All KISAING girl wore SAMHYEOIJANG upper coat. And their head ornament were black KARIMA for grown KISAING. SAYANG hair for DONGKI or maiden KISAING and BINYEO (an ornamental rod of women's hair) were inserted into the hair of rear down part of head. The water carring maid wore BANHYEOIJANG upper coat and no KARIMA were on head and their coat were gloomy color. Above mentioned are several conclusions, and there migh be a false or erroneous explanations of 18th century dress and its ornament, however I considered they were data for blank period of quite unknown.

• 한국의류산업학회지
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• 제5권4호
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• pp.324-330
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• 2003

The purpose of this study is on the meaning and variety about gender expressed in modern fashion. The results are as follows ; First, the typical masculine gender was authority, discretion as a result of heteropatriarchy focused on the western reason. It was conservative and the symbolic image type of the meaning excluded masculine sexual expression. Dress and its ornament was expressed as the style of straight silhouette, dark color, rough and stiff material. Second, the typical feminine gender was the symbolic image type of a mother and a wife defined relatively by man as a result of western heteropatriarchy and the image type which men regarded women as sexual objects. Dress and its ornament was expressed as the style of silhouette which let bodily curve out, light color, soft material. The most typical item is dress and suit. Third, androgyny has been described as the feminie gender of androgynous, which shows masculine image as the effect of feminism and social success of professional women. Dress and its ornament is expressed as the style of business suit, the symple of typical man's one. The masculine gender of androgynous is showed man's suit as silhouette that let bodily curve out, light color, exposure and soft material, which is the symbol of feminine dress, Fourth, unisex is the area of dress and its ornament used the sexless symbol which there has been no gender more because of the spread of sports and diffusion of leisure in life style.