• 한국의상디자인학회지
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• 제9권1호
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• pp.71-87
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• 2007

Main role to expand the fashion in the middle age was played by aristocracy and knight. They contributed to the fashion of the middle age regardless of aesthetic sense. First, in any age, there was a self-display design using splendid decoration or material in the costume of high-class people. Aristocracy, especially, knight in the middle age classified themselves from others by wearing the costume suitable for their statuses. Second, the Crusade knight appearing all over the cinema gathered various peoples and caused acute optic angle about specialty of costume. Therefore the trend preferring foreign costumes was changed to new fashion while it was connected to desire searching for a change. Third, although armor of knight was created because of protection in the war, in the 13th century, its character of motion and defense was emphasized and it became splendid style. More over, the costume of knight was developed to more emphasize masculine beauty with heavy upper body and light lower body so it caused sexual difference of costume in the middle age. Fourth, As knight searched effective defensive weapon, chain mail was relegated by plate armor. The order of armor that the hight wore in 1350 was as follows. First, he wears adhesive shirts, braies, hose and wears metal protector on arm and leg. He wears padded undercoat called gambeson, hauberk, plate armor and surcoat on them.

• 복식
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• 제6권
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• pp.161-171
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• 1982

The idea of King Hungdok's prohibition of clothing was to restrict the use of chinese-made cloth on the one hand and to compell his people to use Korean-made cloth for their apparel on the other. The prohibition of clothing sprang from King Hungdok's aspiration to restore his dynasty that had been falling due to the repeated drought disaster and luxurious living of the aristocracy. Safflower, Rubeaceae roots and Sapan wood are well known as some of the earliest natural red-dyes, exhibiting beautiful red-color in our anciet cultural tradition. The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. Those plants used to make the color yellow are: Gardenia, phellodendron amurense, Turmeric, coptis, safflower, Arthraxon hispidus, Styphnolobium japonicum. Shikon, root of violet plant, is well known as one of the earliest natural days. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color.

• 한국의류산업학회지
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• 제7권3호
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• pp.277-282
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• 2005

This study focuses on the imported silver goods from Japan and investigates the backgrounds of importing, trade items, and the amount of the exchange. This study also investigates the effects of the importing silver on Chosun society. A large amount of silver was imported from Japan and the amount of imported silver reached its maximum in Chosun Dynasty. Japan, on the other hand, imported a large quantity of cotton cloth from Chosun Dynasty. Silver was imported mainly because of the sumptuous moods among the royal family and the aristocracy. The moods were spread out to general people who made them wish for the luxurious and expensive chinese goods. To buy the luxurious goods, a lot of silver was imported from Japan. Importing a large quantity of silver fostered the sumptuous moods and also caused the price increase in the Chosun society. The order of the society became worse because of the individual trades of rich merchants who were closely connected to high officials.

• 동아시아식생활학회지
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• 제13권2호
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• pp.83-97
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• 2003

Yangroyun(養老宴), the ceremony for elderly people, originated with the ancient chinese, but the ceremony was held as almsgiving in the early period of Three Kingdom - Shilla.Goguryo.Backje. During the period, a king participated in the ceremony and gave elderly people grain and cloth. Also, in the unified Shilla dynasty, as it were. According to establish the aristocracy in the Three Kingdom Period, Yangroyun became the royal ceremony. In Goryo dynasty, Yangroyen was developed as a ceremony for awarding a person with filial piety prizes. In Chosun dynasty, Yangroyun was peformed in the rigid regulation. It was begun from the king Sejong, According to$\boxDr$Kyungkukdaejeon(經國大典)$\boxUl$, Yanroyun was held in September of the lunar year for over eighty years old, and queen held a banquet for the wives of the elderly. According to $\boxDr$Chosunwangjosilrok(朝鮮王朝實錄)$\boxUl$,$\boxDr$Gisaji(耆社志)$\boxUl$, and $\boxDr$Jungbomunhunbigo(增補文獻備考)$\boxUl$, Yanguroyun held totally eighty times in Chosun dynasty, however, in the late Chosun dynasty, Yangroyun was held few times.

• International Journal of Advanced Culture Technology
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• 제7권2호
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• pp.151-157
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• 2019

This study tries to evaluate the similarities and differences between Paradise Lost and the Journey to the West through the characteristics of Satan and Monkey King. In Paradise Lost, the spirit of Satan revolts God is just like the spirit of Bourgeois revolts the Feudal Aristocracy; however, Monkey King's figure in the Journey to the West is a character with rebellious spirits. In the western world, they often advocate punishments afterward, while the eastern world notes social orders and rules. Although eastern epics have distinct differences toward western epics due to the different cultural and historical backgrounds, the results that the winners at the end always get supreme powers are the same.

• 이베로아메리카
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• 제21권2호
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• pp.115-143
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• 2019

This article analyzes the relationship between Mexican writer Alfonso Reyes and the group of thinkers, writers, and critics that conformed the Ateneo de la Juventud, in order to show the reciprocal influence that existed between them. The article also considers the Ateneo's role in breaking from the old Positivist model and the acceptance of new ideas around spiritualism, youthfulness, the creation of a thinking and critical sphere, and intellectual aristocracy, among others. The relationship between the ideas of the Ateneo de la Juventud and the Mexican Revolution are discussed, as well as the social and cultural practices of dialogue and friendship, which are considered to be key to understanding the manifestations of intellectual sociability that took place at the turn of the century in Mexico and Latin America. The article also presents an overview of the role that the reading of classical texts and modern thinkers (Nietzsche, Schopenhauer, Bergson, Boutroux among others) had for ateneístas, as well as the way in which they preserved an arielista sense of a relationship between knowledge, ethics, and aesthetics as formative keys for the ideas men of their time.

• 헤리티지:역사와 과학
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• 제38권
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• pp.179-222
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• 2005

경주지역(慶州地域)에서 현재까지 발굴조사된 17개소의 청동공방유적(靑銅工房遺漬)들에 대한 연구결과 이들 유적들은 운영주체가 누구인가에 따라서 궁중공방(宮中工房), 관영공방(官營工房), 사영공방(私營工房)으로 구분이 가능하다. 경주지역의 청동공방은 소규모의 궁중수공업(宮中手工業)을 위한 공방에서 대규모의 관영수공업(官營手工業)을 위한 공방으로 발전을 했고, 이후 귀족의 등장에 따라 사영수공업(私營手工業)으로 변화하였다. 궁중공방은 궁성(宮城)이 위치했던 월성(月城), 전 임해전지(傳 臨海殿址)와 인근의 황남동(皇南洞) 주변지역에서 확인된 청동공방으로서 소규모로 운영되었다. 관영공방은 경주시 동천동 일대에 집중된 청동공방으로 한 지역에 집중된 모습을 보여주고 있다. 한편 관영공방 단계에서는 공방 옆에 대형 도로가 위치하는데 이는 공방에 소요되는 원자재(原資材)를 원활하게 공급하기 위한 목적으로 추정된다. 그리고 도로의 보수작업에 청동공방에서 발생한 폐기물(廢棄物)이 사용된 점은 도로와 청동공방이 서로 유기적(有機的)으로 연결되어 있음을 보여준다. 사영공방은 귀족들에 의해서 운영된 공방으로 관영공방에 속한 장인(匠人)들이나 개별적인 공장(工匠)들이 귀족들에게 흡수되어 만들어진 새로운 형태의 공방으로 시내 곳곳에 공방이 위치하는 모습으로 변화한다. 따라서 귀족들의 가택(家宅) 안에 마련된 작업장인 사영공방이 등장하게 되면서 공방의 운영주체는 국가에서 개인으로 점차 변화해 나간다고 추정할 수 있다. 사영공방은 왕경 안에 위치한 대형사찰에서 절 안에 공방을 두고 필요한 물품을 직접 생산하던 공방으로 청동주조와 관련된 작업장이 주로 발견되었다. 이상과 같이 신라왕경 안에서 운영된 청동공방의 존재를 통해서 우리는 당시의 기술력과 상품의 교역권, 생산지(生産地)와 수요처(需給處)의 관계를 확인할 수 있고, 사회상을 알 수 있는 중요한 단서를 찾을 수 있다.

• 한국의류학회지
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• 제10권1호
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• pp.97-104
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• 1986

The change and development of costume are related to the cultural and socioeconomic factors. In the 18th century the mode of the women's costume in France was greatly influenced by the Rococo style. Elegance and exaggerated ornaments were the major characteristics of the woman's cos-tume in the Rococo period. The high hairdress and the widely hooped panier represented the typical Rococo fashion. From the second half of the 18th century onwards the aristocracy began to lose the battle with the bourgeoisie for political and economic power, and at the same time bourgeoisie fashion exerted an influence on court dress. The court fashion dominated the women's dress fashion in France up to the Revolution. Marie Antoinette, The Queen of Louis XVI, was one of the most influential fashion leaders in the lath century. The fashion, after attaining its highest point in 1770s, changed to a new direction in 1780s under Louis XVI. From that period onward the dimensions were smaller, hairdresses were not so high, and the trimming on the various garments was less liberal. In the mode, exaggeration was replaced by simplicity, and formality was replaced by functionalism.

• 복식
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• 제48권
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• pp.197-216
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• 1999

This study reflects the aim of analyzing the formality and symbolism of the Chanel suit. Chanel had designed jersey and tweed cardigan suits in the 1910s and 1920s while her suits of the 1930s were crisply fitted. The suits of the 1950s and 960s while were comfortable and slightly boxy marked a significant step forword. Lagerfeld's mission at Chanel was to tranmute the basic elements of the Chanel style and make them contemporary. He has also introduced the contemporay wide shoulders and short tihht skirt In place of sensible knee-length skirts he offered hemlines that either grazed the ankles or exposed most of the thighs. Besides her very influential jersey and tweed cardigan suit Chanel continued to assert her considerable strength with materials often making her suits in very delicate feminizing fabrics. in place of the classic boxy tweed jacket Lagerfeld introduced jackets made of terrycloth denim and stretch fabric Many of Chanel's suits show a stylish sense of colour that would have made artist envious. Chanel and Lagerfeld chose variety of colours from beige and grey and black to blue green cerisen and red for her suits. They was completely in tune with the twentieth century understanding the changes in lifestyles of woman and also understanding how her clothes should cater to them Thus the Chanel suit is more a way of life than just a fashion and is synonymous with wealth and aritocracy. It is one of the most popular status-symbol styles of the 20th century.

• 한국의류산업학회지
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• 제17권1호
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• pp.64-73
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• 2015

This paper examines the characteristics of Hungarian women's costumes under the Reign of the Habsburg Empire in the $19^{th}$ Century. Since the beginning of the $19^{th}$ century, the Habsburg Empire inflicted strong oppression on Hungary. Under the influence of the European upper class, exaggerated and sumptuous costumes were fashionable in the Hungarian Aristocracy. They preferred blouses decorated with colorful embroidery, pleated sleeves, gorgeous beads and lace, long pleated skirts with velvet borders, corsets decorated with delicate embroidery, coats adorned with lace, and capes. However, Hungarian nationalists protested against the Habsburg Empire's oppression; consequently, Hungarian national costumes expressed a sense of resistance and solidarity. The results of the study are as follows. The Hungarian women's costumes were different from women's costumes of the Habsburg Empire in regards to headdress, bodice, apron, pattern and shoes. The Hungarian women's headdress consists of the parta and veil. The bodice is richly adorned with colorful embroidery and differs from skirts in color and material. The Hungarian women's apron is distinct from the Habsburg Empire as a unique Hungarian item. Finally, Hungarian costumes are characterized by the Oriental pattern and short boots with metal heels.