• 복식
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• 제14권
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• pp.167-183
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• 1990

As an attempt to view Chason costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic characteristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated: form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often used. Patterns revealed two aspects : while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns draws our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterens, indicating wearer's status and warding off the evil's spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories: the beauty of nature, the beauty of personality, the aesthetics of evil's eye and the beauty of tradition. The beauty of nature, as appreciated by the Chason people through their prevailing nature, the "Pung-rew Spirit" and through their Worship of Heaven, produced aesthetic characteristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil's eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people's conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Chason people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Chason people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.

• 복식
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• 제37권
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• pp.47-69
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• 1998

The purpose of this study is to inquire the hair, head-dress and clothing(upper clothing: Veil, Samkaksika, Sash) of Bodhisattvas in Dunhuang Mogaoku of the period from Northern Liang Dynasty(421∼439) to Tang Dynasty(618∼907). The method of this figure and the change of clothing form : 'Dunhuang Mogaoku'1st Volume-4th Volume. The Bodhisattvas' hair style are somehat various ; A part in her hair, Suibal, Gae, Sakbal. A part in Bodhisattvas's hair is observed from Northern Liang Dynasty to Sui Dynasty. But Suibal had been continuous succeeded. Meanwhile, in the periods of Sui and Tand Dynasty, there were the hair styles whose ends were curled up. It is called Eulle Meor-ee. Especially, in Tang Dynasty various styles of Gae were appeared. Doogun was observed from Northern Wei to Tang Dynasty. There were three kinds of head-dress; Samsikkwan(having 3 decoration), Bokwan and Jungmeunkwan(appeared in Tang Dynasty). Meanwhile, Sash let was become more and more decorative. The Upper clothing can be classify into Veil, Samkaksika, Sash, etc. Veil were observed in every period but X shaped one was form Northern Wei and U shaped one was from Northern Zhou Dynasty. After the period of Sui Dynasty U shaped Veil become prevalent. Samkaksika was observed for the first time in Northern Zhou Dynasty. Cutted sam-kaksika was appeared in Sui Dynasty and succeeded to Tang Dynasty. Poncho tyed Samkaksika was also observed in Tang Dynasty. In Westhern Wei Dynasty. daesupo was used into outter garment, which us that chinese influence was deep tell. Sash showed up in Tang Dynasty and it is used for Veil for the whole period of the Dynasty. But using sash for veil was formally hanged on going the lated period of Tang Dynasty. We can observe the sun-moon decoration and the wings of a bird decoration at the Bokwan, Veil, Samkaksika and Sash, etc. It is was the influendce of Sasan Per-sia and India. I will fill up the insufficency of this study wity continous research of ornament(Muktahara) and skirt of Bodhisattva and deeper inquiry of the relationship around the many countries.

• 디자인학연구
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• 제13권2호
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• pp.65-72
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• 2000

자동차와 같이 스타일링이 전체 상품성에 미치는 영향이 큰 제품에서는 차체의 스타일과 동시에 BI의 디자인과 그 마무리가 매우 중요하다. 최근에는 상품의 다양화와 각종 매체의 발달에 의하여 소비자들의 브랜드에 대한 인식이 과거의 고정적이던 것에서, 여러 가지 요인들에 의하여 변화될 수 있는 가변적인 것으로 변화되어가고 있으므로 참신한 BI의 이미지 부각은 더욱 중요시된다. 초기의 자동차에서 장식품의 개념에서 시작되어 공업화와 함께 시작된 개별 브랜드의 개념이 독립화 되고 전문화되어 오늘의 BI의 형태에 이르렀다. 이에 따라 비교적 긴 역사를 가지고 있는 브랜드는 그것을 알려야 하는 요구가 상대적으로 적으나, 후발 메이커의 브랜드는 짧은 시간 내에 보다 많은 소비자에게 긍정적인 인식을 심어주는 것이 매우 중요한 과제로써 다루어지고 있다. 이에 따라 최근의 차량에 쓰이는 BI는 브랜드의 조형적인면 뿐 아니라, 재료와 공법 등에 따라 매우 다양한 형태와 방법이 나타나고 있으며, 이것은 후발 브랜드의 BI에서 단순하면서도 추상성이 강한 조령 방법과, 물리적 마무리에서도 화려한 경향을 가지는 것이 나타나고 있다.

• 한국주거학회논문집
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• 제25권3호
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• pp.45-52
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• 2014

Adolf Loos and Hiroshi Hara are very well known for their distinctive method of spatial composition. Adolf Loos showed white silent outer facades from his strong aversion to the ornament, whereas dynamic and rich inner space by the principle called 'Raumplan' in his housing design. Hiroshi Hara, one of the most influential architects in modern Japanese architectural history, designed a series of controversial houses with radical design by his 'Yukotai Theory' and the thought of 'Reflection House'. Even they have no common in regional background or the period of their works, both similarly have shown their own focus on cladding surface as an important design language. From this point of view, this paper investigates the design method of those two architects focused on the similar points and also the differences of their approaches to cladding in housing design. In conclusion, in case of Adolf Loos, the cladding is a tool to create completely safe and pure inner space by separating from the outside. On the other hand, the cladding of Hiroshi Hara has the meaning of social ideology that individuals must follow the principles of a dominant structure, which is the reason why the cladding should be removed. However there exists something in common also. They radically denied the outer circumstances and had a firm belief that the requests from the inside living space were the more influential factors.

• 대한가정학회지
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• 제44권1호
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• pp.131-138
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• 2006

The yanggwan is a striped headpiece for civil and military officials worn with jebok, a costume for the royal ancestral worship ceremony, or jobok, a ceremonial costume for the courtier. It was called a jegwan when it was worn with a jebok. The geumgwan and jegwan are of the same style but the geumgwan has a gilded band and backside and the jegwan is mostly lacquered. The yanggwan was worn first with the jebok by the officials, both of which were received from the Chinese Ming dynasty in the 19th year of the King Gongmin's reign during the Goryeo period. The royal crown and court clothing system was two grades lower than the standard clothing code of the Ming dynasty of China. In the Joseon dynasty, the oyanggwan worn by the highest grade officials had five-stripes but was later replaced during the Daehan Empire by the seven-striped chilyanggwan used by Ming dynasty officials. Oyanggwans make up the majority of the surviving examples of these headpieces, with the exception of the six-striped yukyanggwan of Chung In-hak (1839-1919), the Minister of Justice, which originated in the Daehan Empire and whose owner is definitively known. The gilt portion of this yukyanggwan is finely engraved in relief with a bird, flower and tendril motif. The yukyanggwan is topped by a decorative bird ornament, called a jeongkkot. EDSS spectrum analysis of the gold plating reveals a composition of 51.32% gold and 10.34% silver. The yanggwan is composed of bamboo, mulberry paper and silk crepe. The black portions are lacquered. The individual yang is made with twisted mulberry paper.

• 복식
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• 제12권
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• pp.39-54
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• 1988

The purposes of this study were to identify the periodicity of fashion in modern society and to find the correlation between each detail and bustle constitution through the bustle styles that have been recently revived. For the study of periodicity, fashion plates or pictures in Vogue or in the books related Vogue since 1930 were selected, and were analyzed into bell, tubular and bustle silhouettes that were devided by Young (1937). And for the study of the correlation of detail and bustle constitution, fashion plates and pictures that were related to the bustle in the 19th century and the 20th century were selected, and according to the epoch (19C, 20C) and the use (daytime dress or evening dress), each of them was analyzed. The results were as follows: 1. After 1930, $24{\sim}33$ year amplitude was founded at tubular and bell shape, that proved shorter cycles than Young's. 2. In each characters of clothing details, deep decolletage, undivided waistline, spaced bodice in daytime dress were partly identified the characteristics of 20th century costume. 3. The form of bustle was converted from the complex ornament of the 19th century to the simple shape of the 20th century. In other words, it is necessary that the definition of bustle be changed not the previous definition as the silhouette and instrument but that as the emphasis dimension. 4. The dimensions that showed difference at daytime dress and evening dress were 'existence of collar', 'neckline', 'length of sleeve', 'kind of sleeve' for 19th century, and 'neckline', 'length of sleeve', 'kind of sleeve,' 'length of skirt' for 20th century. 5. Correlations with the bustle constitution and details were shown at bodice and waistline with the complex bustle in the 19th century and at collar and neckline with the simple bustle in the 20th century.

• 복식
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• 제57권10호
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• pp.129-141
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• 2007

In the cultural realm of Hinduism centering around India, traditional costumes such as Sari, and Dhoti are worn up to date under the influence of religious faith, tradition, and fundamentalism. The purpose of this study is to clarify the religious meaning of unstitched traditional Indian costume and inquire into the figurative beauty of it. This study revolved around India, and the aesthetic feature affected by hinduism was examined based on the literature references and the figurative feature and aesthetic value of unstitched costume were analyzed. The most important feature of Indian costume is the unstitched costume without joining pieces of cloth by using a needle and thread, symbolizing the purity based on the cosmology of Hindu. In the unstitched costume of India, natural drapery that is the large cloth, slipped or tied on body, wrapping it affluently, is emphasized. Unstitched costume of India, based on cosmology of Hindu and the concept of purity, is still broadly worn by people under the influence of fundamentalism and conservative atmosphere. Religious idea is expressed and a beauty of concealment, emphasizing the chastity, is shown in the unstitched costume of India, while a beauty of nature is distinctively revealed in the non-structural and asymmetric drapery costume due to the unique wearing style. In addition, 'A beauty of symbolism' appears in the wearing method, color, the part of wearing, and ornament. Religion has affected overall culture that is inclusive art, aesthetics, and social structure and has contributed to the formulation of costume style. Unstitched costume of India is the unique tradition of India and identity, based on the religious idea.

• 복식
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• 제58권5호
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• pp.51-70
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• 2008

The purpose of this study is not to look at the history of traditional accessories or the characteristics of their shapes but to discern imitations ￡Tom authentic items by exploring imitations of traditional accessories-- many of which were made in the late 20th century -- from private museums and university museums in order to help scholars assess relics. Among many kinds of accessories in the Joseon dynasty, only norigae, one of the representative accessories, and women hair ornaments are selected for this study since many of the relics have been recovered to date. Given this, this study will consider firstly the general history of norigae and women's hair ornaments, and secondly, prove several examples as relics from the late 20th century while they are marked as relics from the Joseon dynasty by comparing authentic items. Thirdly, among the imitations of the late 20th century, this study will find those so-called "original" imitations whose production origins are unidentified Fourthly, this study will explore the imitations, which were influenced by the influx of items and materials from China. It is important to discern low-quality relics as well as to correct the production time. Some producers exercised their creativity and made relics non-native to Korea. These relics shouldn't be presented at international exhibitions. Restored relics should be noted so and their quality should be equal to the authentic items. It is suggested that relics without the identity and quality of native Korean relics not baffle cultural interchanges and enhance national glory.

• 복식
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• 제58권5호
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• pp.13-34
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• 2008

In Headgear and Ornaments for Diadem in the Period of the Three States there was Conical Cap(or Pointed Cap), Feathered Cap(Trim), and Crown[Tree-typed Diadem and Tree and Antler-typed Diadem] was excavated from the tombs. Feathered Trim is 5 types, Feathered Trim I-A, Feathered Trim I-B, Feathered Trim II-A, Feathered Trim II-B, Feathered Trim II-C in according to upper part of central insert plate style. Feathered Trim I-A, I-B, II-B type was general style that was found in most of the old tombs in ancient Silla, Gaya. Feathered Trim II-A type was excavated from the only Silla tombs and II-C type was excavated from Gaya tombs. The Ornaments for Diadem in Baekje was excavated from the tombs is adorned with a arranged leaf-stems on either sides and the flower-shaped. They were distinguished with the original mode of Goguryeo and ancient Silla at the time. Tree-typed Diadem is five part in according to the Mountain(;山)-typed piled up. Only one Mountain(;山)-typed one in three stand-up ornament(I-1 type), and three step one in three stand-up one(I-2 type), modification one (I-3 type), three step one of four and five stand-up ones(I-4 type), and four step one of four and five stand-up ones (I-5 type). Tree and Antler-typed Diadem is three part in according to the step of Mountain(; 山)-typed and cross-shaped of the upper part. Three one of three step one of Mountain(;山)-typed and two Antler- typed (II-1 type), cross-shaped one(II-2 type), four step one(II-3 type).

• 한국의류산업학회지
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• 제6권3호
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• pp.297-306
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• 2004

Mehndi, becoming a kind of body fashion in western advanced countries nowadays, is a exquisite, classical fashion form sublimated to traditional faith, medicine and designing art. As one of the cultural arts, especially transmitted by women, a individual tradition of the way how to do the mehndi and the design has been handed down from one culture to another over a thousand of years and it is extensively using in many area, all around world today. Mehndi was used as preparing for special events or celebrations in India, Africa, Central Asia in order to pray for happiness, good luck and calm hart 5000 years ago. Especially, it is concerned with romantic love or a wedding and takes important part of a traditional wedding reception and bride adorning in the culture of Hindu or Islam. In addition to adorning skin, mehndi has various symbols, meaning, function, that is, as a speechless language, in several cultures, it has common meaning such as attraction, protection, celebration. The design of mehndi has been in harmony with the figure, colors, skin types of the dress or the ornament. According to the region, religion, design, mehndi is divided into the design of India and Morocco mostly. Indian design mainly shows flowers and paisley pattern, people widely recognize this design to celebrate and adorn bride in wedding ceremony, still apply mehndi the present time. Moroccan mehndi design, representing North Africa, characterized a bold geometrical figure which stands for belief in living under the protection from supernatural power. Through the understanding of these various meaning, function, symbolism of the design, adorning their body, the current general public use mehndi as not only aesthetic means but also another self expression.