• 제목/요약/키워드: Wedding Ceremony

검색결과 112건 처리시간 0.029초

서부경남지방의 전통혼례에 관한 민속학적 연구 - 1920~1950년대를 중심으로 - (A Study of Folklore on the Traditional Wedding of the West Gyeong Nam District - Focused on 1920s~1950s -)

  • 정복남
    • 복식문화연구
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    • 제8권6호
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    • pp.871-886
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    • 2000
  • The purpose of this study is to understand the culture on the Traditional Wedding of the West Gyeong Nam District. The traditional wedding was characterized that the bridegroom visited his bride's house accompanied by his honored guests(上客) and the marriage ceremony was to be held in day time, and then the bridegroom became a son-in-law and stayed with the family for a few days. The bridegroom returned to his home, leaving his bride behind. After a certain period, the bride came to her husband's home as a daughter-in-law. The Traditional Wedding costume of the bridegroom were Samo-Gwandae. The coat (outside uniform) was blue Danryeong ornamented with two cranes figured Hyong-Bae and Heukgackdae. In case Samo-Gwandae was not available, Dopo or Durumakie could be substituted and they put on shoes in this case. A bridegroom put on Mokhwa his feet and under the Samo, and he also put on Nambawie or Bokguen. He put on Dopo or Haeng-eui(行衣) or Durumaki under the blue Danryeong. The bride put on Wonsam and Chokduri or Hwagwan on her hair. In case Wonsam was not available, Chima Jogori style or imitational Wonsam, which was roughly sewed with red cloth and blue cloth contained in the Honsuham (Box of wedding treasure), could be substituted. She put on Hyang-guen to protect her body against the coldness and to hide her face.

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한국 웨딩문화에 적합한 웨딩드레스 디자인 개발 연구 - 한국 여성들의 체형과 이미지를 중심으로 - (Study on Designing Wedding Dress Considering Wedding Culture in Korea - Focus on Body Shapes and Image of the Korean Women -)

  • 오지혜;이인성
    • 복식문화연구
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    • 제20권3호
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    • pp.363-377
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    • 2012
  • Most of the wedding shops in the domestic market are more focusing on simply copying the designs of foreign wedding dress designers than making their own designs. Beyond the purpose of how to improve the wedding dress designs which is what other previous studies were aiming, this study goes deeper than that, concentrating on separate designing of dress for a wedding celebration and a rehearsal with photo shoots. Add to this, the study also differentiates itself from others in the past, investigating how to make a gown that hides a bride's physical shortcomings. For this study, the researcher studied the literature in terms of theoretical review, and conducted the empirical research through the photo analysis of 2,725 wedding dresses which brides really wore according to domestic brides' body shapes, their images, and situations. The researcher designed 8 wedding dresses for wedding ceremony and rehearsal shooting for brides with thick arms or wide shoulder under the concept of 'Romantic Story in Your Heart'. The wedding dress's image types for photo analysis were limited to the romantic type, the elegance type, the modern type, and the classic type. The researcher applied the empire-silhouette, the one-shoulder neckline, the raglan sleeves, the cap sleeves, and the shoulder accessories to the wedding dress designs judged as effectively making up defects in body shape and making nice images as well as other design factors seen from the analysis result.

미국 빅토리안 웨딩드레스의 디자인과 제작기법 연구 (A Study on Victorian Wedding Dress Design and Making Techniques of America)

  • 이상례
    • 복식
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    • 제57권9호
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    • pp.161-176
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    • 2007
  • The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the correlation between the wedding dress style and the fashion style in those days and the influence of the wedding dress style on contemporary's styles. The materials of this study were 9 wedding dresses owned by the Historical Costume and Textile Collection at the University of Connecticut in USA. The dresses were made during the mid and late Victorian Age. As for silhouette, the bustle style was popular in the 1870s and 1880s, and the hourglass style in the 1890s, and different from contemporary dresses there were no big differences in structural pattern and details between ordinary dresses and wedding dresses. In addition, colored wedding dresses were used until the mid and late Victorian Age, but since the wedding ceremony of Queen Victoria in 1840, white wedding dress was widely accepted and settled as the tradition of today's wedding dresses. While the Western dress style had been basically a one piece style, there appeared simple two piece designs in which the upper garment was separated from the lower one, from the mid Victorian Age. This is considered the reflection of those days' pragmatic social trend in dress style. It seems around 1875 when asymmetric design was first introduced in the Western dress style, which had been mostly symmetric. The asymmetric style that pursued atypical beauty, though not common during the late Victorian Age, shows a change in the typical Western dress style. With regard to dress making techniques, sewing machines were distributed widely during the early Victorian Age but they were not used in all parts of dress. Most of details and trimming works were done manually and some parts were attached and detached by hand sewing. In addition, not like today, there were no generalized rules of making such as the form of closings and composition.

임오(1882)년 가례 왕세자 복식연구(1) - 면복을 중심으로 - (A Study of the Ceremonial Costume of the Crown Prince in the Year 1882 - Focusing on the Myeon-Bok (Royal Robe) -)

  • 안애영;박성실
    • 복식
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    • 제59권10호
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    • pp.68-84
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    • 2009
  • A state wedding ceremony of kings and crown princes in the Chosun Dynasty was systemically formalized in a book Five National Ceremonies (1474) as one of the five major formal events of the royal auspicious ceremonies(Ga-rae). For a state wedding, Ga-rae Protocol was made by a devision for Ga-rae temporarily established for the occasion. A total number of auspicious ceremony protocols of kings and crown princes amounts to 20 in the span of 279 years. Among the proposals, the wedding of Soon-jong in the Imo Year of 1882 is described most thoroughly. Nap-bin-ui(reception of bride) comprises six rituals which are nap-chae, nap-jing, go-gyi, chaek-bin, chin-young, and dong-ryae. A grand formal costume of the crown prince is granted based on the 'Seven Parts Formal Costume' of the first year of the king Moon-jong in 1450 together with an official costume for crown prince(Gon-myeon-chil-jang) arranged in the third year of the king Young-rak. In the royal palace of the Chosun Dynasty, the granted formal costume of the crown prince is officially recorded as a code and presented in a Gwon-ji-il section of the Formalities of the Five National Ceremonies. The formal costume and its accessory set for the crown prince recorded as a code are described in Sangbang Jeong-ryae as the formal costume of the crown prince section published by the king's request at the high senate commission in the 28th year of the king Young-jo in 1752. The aim of the study is to investigate the formal costume of the crown prince as an auspicious ceremonial costume worn at the wedding in the year of Imo.

"가례도감의궤"에 나타난 가례복식의 실태에 관한 연구 (A Study on Changes of Royal Wedding Costumes Found Out in Ga-Re-Do-Gam-Eui-Gue)

  • 최경순
    • 한국의류학회지
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    • 제15권1호
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    • pp.15-27
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    • 1991
  • This study is to investigate the royal wedding garments found out in Gn-Rs-Do-Gam-Eui-Gue during Yi Dynasty. The results are as follows: 1. The wedding garments for kings and princes, as well as for queens and princesses, had a tendency to increase in their kinds and number 2. The number of' Sang-bok (상복)' for queens and princesses was decreased about $50\%$ after the publication of Jeong-Re (정리). 3. Casual wears for queens and princesses were decreased to the halves in kind, and its number was decreased about $60\%$ .4. Clothings for court ladies showed changes in kind. 5. Documents about clothings for parents of queen's in wedding ceremony cannot be found in the literatures, such as Guk-Hon-Jeong-ke(국혼정예), Sang-Bang-Jeong-Re(상방정예). and Eui-Cue published in the 35th and 38th year of King Yeongjo's reign, respectively. 6. The number of ornamental bars including wigs was decreased about $50\%$ after the publication of Guk -Hon -Jeong- Re.

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잠재고객의 호텔웨딩 인적서비스상품에 대한 인식과 감정반응 (Recognition & Emotion Reaction on the Hotel Wedding Human service Commodities of latency Customer)

  • 이준재;김용순
    • 한국콘텐츠학회논문지
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    • 제9권7호
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    • pp.342-351
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    • 2009
  • 호텔기업의 수익창출구조에서 중요한 비중을 차지하는 웨딩서비스 상품 중 다소 측정이 어려운 인적 서비스 상품에 대한 예비 고객의 감정특성을 파악하고자 하였다. 이에 호텔별로 이용한 경험이 있는 고객에게 설문지를 20부씩 배부하여 회수된 177부 중에서 불성실한 20부를 제외하고 157부를 실증분석에 이용하였다. 본 연구의 실증연구결과를 통해서 다음과 같은 결론에 따른 시사점을 제시할 수 있다. 첫째, 인적서비스와 물적 서비스로 크게 구분될 수 있는 호텔 웨딩 서비스 상품 중 인적서비스는 고객이 느끼는 긍정적 감정과 긍정적 환기, 부정적 환기에 직접적으로 영향을 미친다. 둘째, 고객의 호텔 웨딩서비스 상품에 대한 긍정적 감정과 부정적 감정은 향후 고객 행동의도에 긍정적 영향을 미친다. 즉 고객의 감정반은(긍정적 감정, 부정적 감정, 긍정적 환기, 부정적 환기)은 고객의 추후 구매행동에 직접적인 영향을 미친다는 것이다. 향후 본 연구의 결과와 한계점을 충분히 고려하여 표본설정에서부터 실증연구 결과까지 지속적인 연구가 진행될 것을 기대해 본다.

웨딩주얼리를 위한 보석커팅 디자인 제안 (Proposal for Gem Cutting Design for Wedding Jewelry)

  • 김경진;강경희
    • 한국콘텐츠학회:학술대회논문집
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    • 한국콘텐츠학회 2009년도 춘계 종합학술대회 논문집
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    • pp.1026-1030
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    • 2009
  • 우리나라에도 서구문화가 유입되면서 서구식 결혼식이 보편화되었고 신부의 웨딩드레스와 주얼리 디자인에 관심이 집중되어 왔다. 특히, 웨딩 소품으로 주얼리 시장의 규모가 커지면서 금속디자인은 많은 발전을 해 왔으나 보석 커팅 디자인에 대한 연구는 부족한 현실이다. 21C 소비자들의 기호에 부응하기 위해 웨딩 주얼리로서 보석의 화려함을 극대화 할 수 있는 연마 방법인 faceting 기법을 활용하여 기존의 정형화된 형태가 아닌 팬시형을 시도하고자 한다. 본 연구에서는 웨딩 주얼리의 주요 보석류로 소비자들의 접근이 용이하도록 값비싼 다이아몬드를 대신할 수 있는 대중적이고 저렴한 큐빅 지르코니아 및 천연보석을 보석재로 사용하였고, 다양한 보석 커팅 디자인을 개발하였다. 웨딩주얼리의 보석 세팅기법에 알맞은 보석 커팅 스타일을 제안함으로써 웨딩주얼리의 새로운 디자인과 제작기법의 개발에 이바지할 것이다.

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부산지역 거주 여성의 전통혼례음식 인지도에 관한 연구 (A Study on the Recognition of Traditional Wedding Food among Women in Busan Area)

  • 전혜경;백종온;조용범
    • 한국조리학회지
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    • 제15권1호
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    • pp.181-190
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    • 2009
  • 본 연구는 부산지역에 거주하는 여성을 대상으로 혼례음식의 인구 통계적 특성에 따른 인지도 차이와 필요성을 조사하고자 부산시 15개 복지관에서 요리 강좌를 수강하는 20대 이상의 여성을 대상으로 하였다. 조사기간은 2007년 11월 10일부터 11월 21일까지로 총 300부를 배포하여 이중 293매의 설문지를 회수하였으며, 회수된 설문지를 바탕으로 신뢰도가 떨어진다고 판단되는 설문지 23부를 제외한 270부를 유효 표본으로 선정하였다. 본 연구에서 사용된 설문지 분석방법은 통계 분석 시스템인 SPSS for WIN 12.0 프로그램을 사용하여 분석하였다. 빈도분석, 일월변량분석(One way ANOVA)과 기술통계분석을 실시하였다. 그 결과, 혼례음식 인지도의 인구통계학적 특성에 따른 차이를 검증한 결과, 연령에 따른 차이 검증은 혼례음식의 종류별로 봉치떡, 큰상음식, 신행음식에 대해서 유의한 차이가 나타났으며, 50대의 연령층에서 인지도가 가장 높게 나타났다. 따라서 본 연구를 종합해 보면 전통혼례음식에 대한 인지도는 높은 편임을 알 수 있으나, 인지도에 비해 필요성에서는 혼례음식의 전통은 계승하면서 규범과 격식은 갖추되 우리의 아름다운 전통혼례음식 본연의 뜻을 온전히 계승시키며 발전시켜 가도록 해야 할 것이다.

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통과 의례 종류에 따른 식 공간 이미지 스타일 선호도 조사 - 대학생 대상으로 - (A Survey on Public Preference for Image Styles of Dining Space Depending on Types of Passage Rites in Korea - Focused on University Students -)

  • 김미자;박금순
    • 한국식생활문화학회지
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    • 제25권6호
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    • pp.719-724
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    • 2010
  • The purpose of this study was to survey public preferences for dining space image styles depending on the types of passage rites in Korea and to determine potential differences in public preferences for dining space image styles depending on the types of passage rites in terms of various general characteristics such as gender, age, family type, and preference for the image and color styles of the dining space. As a result, this study determined the following: According to a public preference survey of dining space image styles depending on the type of passage rites, our respondents showed the highest preference for casual images (27.1%) at a party for a 100-day-old baby. Additionally, our respondents showed the highest preference for casual images (27.4%) when celebrating a baby's first birthday but showed the highest preference for romantic images (35.8%) when celebrating a baby girl's first birthday. Our respondents showed the highest preference for casual images (21.4%) for graduation ceremonies. Our respondents showed the highest preference for classic images (21.7%) at coming-of-age ceremonies for new adult men, but also showed highest preference for elegant images (26.2%) at coming-of-age ceremonies for new adult women. Moreover, the respondents showed highest preference for classic images (41.0%) at traditional wedding ceremonies but elegant images (24.1%) at modern wedding ceremonies. In contrast, the respondents showed highest preference for classic images (31.3%) for a 60th birthday party. The highest preference for classic images (28.9%) was found for a diamond wedding ceremony. Respondents showed highest preference for classic images (30.4%) for a funeral ceremony Finally, our respondents showed highest preference for classic images (32.5%) at memorial services (religious ceremonies).

The Comparative Analysis of 3D Software Virtual and Actual Wedding Dress

  • Yuan, Xin-Yi;Bae, Soo-Jeong
    • 패션비즈니스
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    • 제21권6호
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    • pp.47-65
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    • 2017
  • This study is intended to compare an actual wedding dress being made completely through 3D software, and compare it with an actual dress of a real model by using collective tools for comparative analysis. The method of the study was conducted via a literature review along with the production of the dresses. In the production, two wedding dresses for the small wedding ceremony were designed. Each of the design was made into both 3D and an actual garment. The results are as follows. First, the 3D whole body scanner reflects the measure of the exact human body size, however there were some difficulties in matching what the customer wanted, because the difference of the skin color and the hair style. Second, the pattern of the dress is much more easily altered than it was in the real production. Third, the silhouette of the virtual and the actual person with the dress was nearly the same. Fourth, textile tool was much more convenient because of the use of real-time rendering on the virtual dresses. Lastly, the lace and biz decoration were flat, and the luster was duller than in reality. Prospectively, the consumer will decide their own design of variety through the use of the avatar without wearing the actual dresses, and they would demand what the another one desired, different from the presented ones by making the corrections by themselves. Through this process, the consumer would be actively participating in the design, a step which would finally lead to the two way designing rather than the one way design of present times.