• 복식
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• 제62권5호
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• 한국의류산업학회지
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• 제14권5호
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• pp.766-777
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• 2012

The 13 genre paintings by Junkeun Kim in the book "Korean Games(by Stewart Culin 1858~1929)" were used to study the late $19^{th}$ century's basic costumes and Games style in Korea. The people who appear in the paintings are 26 adult males, 2 minor males, 2 adult females and 3 kisaengs. Typical men wore 'Jeogori' which had various colors and white linings with a reached hip line, and knotted with a 'go-rum' on the right side. They also wore, white colored 'Baji' with colorful sash that were knot below knee or ankle together with 'Hang-jun' or 'Daenim'. They wore 'Beoseon'. Some men wore 'Po' whose colors were blue, green, indigo, white. The general women wore 'Jeogori' in deep green and light pink, indigo, green, red, and they matched with colors for 'Kit' and, 'Go-rum', 'Kut-dong' and its 'Go-rum' was short and narrow. It was so fit and short with narrow sleeve. It had 'Dunggun-kit'(round head collar) with white 'Dong-jung' and so it fit at neck. They wore 'Chi-ma' whose color was red, light green, or light indigo. It contrasted with 'Jeogori'. The width of 'Chi-ma' was big enough. Then white inner slacks came out under the skirt. Traditional Korean games can be classified according to age and gender. Then the games can be further classified into three categories : men's games, women's games, and games for all. The games for adult are an archery practice, hunting, shovel work with a karae, making a bow, drawing Jongkung-chart, Korean chess, playing paduk, and the Korean card game. A swing is a game for women. Games for both men and women are dice play, and domino game. Games for both adult and minor males are sledge, and tightrope walking. Through genre paintings in the $19^{th}$ century, I reached a conclusion that basic costumes are similar to 'Hanbok' at the present time and the method of wearing them has not changed much. It appears that the originality of traditional costumes has been maintained.

• 복식문화연구
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• 제19권2호
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• pp.283-295
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• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.

• 디자인학연구
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• 제13권4호
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• pp.233-242
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• 2000

1990년대는 유압굴삭기의 전통적 조형이 새롭게 모색 및 재해석되는 시기로 판단되었으며, 이는 2가지 방향으로 정리될 수 있다. 하나는 유압굴삭기의 전통적 이미지에 관한 부정적 해석에서 기인한 '탈(post-heavy equipment)중기적' 경향이며, 다른 하나는 고유성 유지와 개선이라는 긍정적 해석에서 기인한 '후기(late-)중기적' 경향이다. 이는 동일한 현상을 다양하게 바라볼 수 있는 패러다임과 관련하는 것으로 사료된다. 이 시기에 개발 및 시판된 8개 연구대상 모델 중 유압굴삭기의 조형 경향은, 일본 색채디자인연구소에서 개발한 이미지스케일 3상한에서 2상한으로 변화였으며, 예외적으로 코벨코는 1상한까지 이동하는 경향이 있었다. 이는 탈중기적 이미지를 디자인 전략으로 채택하고 있는 코벨코만의 경우였다. 아울러, 인적(入的)공간으로서의 캐빈의 변화는 장비 전체의 변화에서보다 좀더 1상한으로 이동하고 있는데, 이는 물적(物的)공간과 시각적 차별화를 위한 것으로 사료되었다.

• 복식
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• 제35권
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• pp.17-44
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• 1997

Medieval European practical art and style of costume is studied through referring to the literatures. The type of clothing that was seen on tapestries arts and crafts paintings and wall paintings and appeared in the architecture such as church. There were symbolic aspects of color motifs at this period and some restraints for clothing according to the social class, It was a period that draped garments due to the War of Crusades is appeared. Be-cause the medieval taste and decorative character is not only 'formative art' but also the taste beyoud 'mode' and atomsphere of that times it could be seen the strong reflec-tion of customs in the clothing of that times which is shown in works of art. 1) The purpose of Christian art which was found in mosaics stained glasses wall pain-tings and statues of architecture was not just the revival of natural phenomena but visuali-zation of sacred and invisible things. It was valuable to understandin of the spiritual through the sense organ It was a monumental art that was combined with decorative func-tion and role of the Bible. It revealed what was about the religious spiritual miracle, 2) In the medieval European painting characteristic and beautiful creativity was the basis of an argument. Both "Worship of East-ern" that is painted ion a parchment and "Cor-onation of Charles VI" were described decor-ation motifs on the edge of buildings geo-metric patterns and others with outstanding skill. there were precise technologic skill of architect and glassmen and lots of patience of craftsmen. " The Labour of the Months" and the scene of"A Trial at the Court" is also de-scribed elaborately. 3) Tapestry was developed in France Ger-many Swiss at the 14th century. Religionary and historical themes unicorn lady bird flowering plants and others were major motifs. It was very important as decorative wall coverings and as practical door arch and bed hangings. It was made through patient hard work with simple technique and it was con-sidered as an art for practical use. Tapestry was what everyone wish to have. It is reckoned for the item of the best gift. The royalty and nobility ordered and used custom-made tapestries. Sometimes the subject of motifs consisted of series which were deeply related to living 4) Decorative arts and crafts was the art that used materials such as precious metals jewels and others and that accorded with the luxurious and gorgeous taste of the royalty and nobility. Christian considered splendid and beautiful color of light as a symbol of glory. They used also for church appliances, There were metal crafts wood crafts textile crafts and others, As was stated above the costume appeared on the arts and crafts for living revealed the process of changes saw how the politic econ-omic and social organizations were developed.and social organizations were developed.

• 박물관보존과학
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• 제17권
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• pp.69-84
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• 2016

유소는 족자를 걸기 위한 끈의 역할을 한다. 본 연구는 기존 어진과 공신도상의 유소 연구결과를 기반으로 사대부상의 유소에 초점을 맞추어 연구하였다. 조사대상은 국립중앙박물관 소장 초상화에 장착된 유소 7점으로 형태와 제작 재료에 관해 분석하였다. 그 결과 대부분 16사의 동다회로 6점은 홍색, 1점은 쪽색으로 제작되어 전형적인 사대부상 유소의 형태를 보이고 있었다. 분석 결과 윤급 초상(덕3503)은 종이에 금박을 입힌 것이며, 금 아래 적색 안료 입자는 Fe로, 산화철 계통의 안료인 석간주가 사용된 것으로 보인다. 신임 초상(덕수4846)은 속지의 주성분이 금으로 납, 수은, 은이 소량 확인되었고, 이성원 초상(본10122)은 주성분이 Ag로 은지인 것이 확인되었다. 이서구 초상(신1065)은 주성분이 Ag, Fe, Br이며 속지는 가죽으로 제작되었다. 가죽을 FTIR로 분석한 결과 지문 영역에서 양가죽의 스펙트럼과 거의 일치하고 있어, 양가죽을 가공한 피금(皮金)인 것으로 확인되었다.

• 복식
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• 제55권5호
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• pp.78-86
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• 2005

Marek(말액) is the headgear, which is a form of hempen hoods[Geon(건)] and the origin of it is Pa(파) of band form. A history book of an old Chinese country Post-Han $\ll$ History of HouHan (후한서)$\gg$ had recorded that a soldier wore a red band around his head that was called Pa(파). In the Han dynasty(한대), Pa had been transformed into Chaek(책) or a kind of a hemp rap(건) while e headgear had still remained as the band form and called Marek from e Tang era(당). The literatures of the Tang era had referred the red Marek of soldiers, and other literatures of the later period had recorded that of the previous headgears of the band form were related with Marek. Since the Tang era, white or yellow Marek except red one fer soldiers had been were by soldiers, musicians, dancers and singers in Yuan(원) and Ming(명) of China. The colors was recorded in red on documents mostly, this red implicated soldiers for symbol of terror. This fart was documented in an old history book $\ll$The history of 25 Eras(이십오사)$\gg$, On the other side, a wall painting in Princess Jeonghyo(정효공주)'s tomb of the Parhae(발해) period described the portraits of twelve persons, and among them, two Siwui(시위) put on the red Marek. Quoted from the record of a history book of the Tang era system , a history book of Three Kingdoms(삼국시대) of ancient Korea $\ll$Samguksaki(삼국사기)$\gg$ described that four dancers of Kogryo(고구려) wore Marek on their heads with the costumes of Koguryo, one of those Kingdoms. In consideration that the book of $\ll$Tongjun$\gg$ was the literature of the Tang era so that Marek mentioned in this book was followed by their name, the Marek of Koguryo dancers shown in the history book $\ll$Samguksaki(삼국사기)$\gg$ might be a kind of Koguryo style hemp cap[Geon(건)]. The Marek of Parhae had succeeded to the headgear of Koguryo and the identity was on Koguryo.

• 패션비즈니스
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• 제5권2호
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• pp.105-115
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• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• 한국의류학회지
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• 제32권9호
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• pp.1333-1342
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• 2008

This study intended to evaluate the visual sensibility of textiles of knitting simulation through the painting function of SDS-ONE, a computer knitting system, with the use of various fancy yarns for hand knitting. For this study, six kinds of fancy yarns with difference manufacturing style and form were selected: loop yarn, tamtam yarn, fur1 yarn, fur2 yarn, ladder yarn, and tape yarn. In order to create a computer knitting simulation, paint function of SDS-ONE was employed to scan the fancy yarns for hand knitting with a scanner. Then, after the registration of the yarns as data, the yarn was brought in for knitting simulation in plain stitch with 3 gauge. After that a survey was conducted involving 60 female experts in their twenties. Using SPSS 12.0, factor analysis, reliability, Pearson correlation coefficient, ANOVA, Duncan test, and regression analysis were performed to analyze the collected data. First, according to the result of analyzing the visual sense factor, three factors of the 'inflexibleness/ruggedness sense', 'lightweight sense', and 'smoothness sense' was extracted. According to the result of analyzing the visual sensibility factor, three factors of the 'activity', 'grace', and 'purity' was extracted. Second, With regard to preference and purchase intention, the knitted fabric with tamtam yarn(H2) was preferred than the other samples, indicating that the respondents had intention to purchase it. As for word-of-mouth intention, H2 ranked the first place, implying the respondents had intention to recommend it to other people. Third, the examination of the use of products each knitting simulation knit found that sweater and muffler are the most appropriate knit products. And H2 was the most suitable sample for sweater and muffler products. This study tried to prove that knit textile can be visually evaluated through a computer knitting simulation without the actual knitting and then to provide accurate data to related companies or the academic circle.

• 한국산학기술학회논문지
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• 제21권1호
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• pp.97-102
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• 2020

VR Art는 기술의 진보로 인하여 표현에 대한 제약이 없어졌다고 하지만 한계점이 존재한다는 것은 분명한 사실이다. VR 아티스트들의 작업 형태를 분류해 보면 크게 두 가지로 나누어 볼 수 있는데, 첫 번째는 공연과 같은 작업을 하는 퍼포먼스형 작가군이 있다. 이 경우는 작가가 VR 기기를 쓰고 작업을 하기 때문에 관객들의 반응을 알 수 없고, 관객들은 VR 기기를 쓰지 않고 스크린으로만 작품을 감상하기 때문에 작품을 온전하게 체험할 수 없다는 한계가 존재한다. 모든 관객들에게 VR 기기를 착용하게 하면 해결되는 문제지만 천문학적인 비용이 들고 기기의 관리에 대한 또 다른 문제가 발생한다. 이는 기술의 발달로 VR 기기의 가격이 내려간다면 해결 할 수 있을 것이다. 두 번째로는 자신의 작품을 상시적으로 온라인상에 올려 전시하는 전시형 작가군이 있다. 이 경우는 VR을 활용한 예술 작품은 가상의 디지털 공간에만 남아 있는 것이 한계로 지적된다. 해결 방안은 기존의 예술 전시회처럼 전시장에 공간을 만들고 관람자들을 위한 VR 기기를 마련해 놓으면 가능하다. 기존의 예술 작품 관람을 위한 갤러리가 있는 것처럼 VR 예술 작품의 전시 및 관람을 위한 전시 공간이 만들어진다면 VR Art의 정착과 발전에 큰 도움이 될 것으로 생각된다.