• 복식문화연구
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• 제29권1호
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• pp.103-120
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• 2021

This study interprets Siberian shaman costumes from the perspective of Siberian shamanism's spiritual culture by combining theoretical and empirical studies. According to the natural environment and language families, the Siberian people are classified into the Altai, Tungus, Ural, and Paleo-Siberian groups. Se Yin's research classifies the spiritual culture of Siberian shamanism as cosmic, spiritual, and nature view. Eliade's research has divided Siberian shaman costumes into form, headdress, and ornament. According to the present study, shaman costume form and decoration reflect the Siberian three-tiered cosmic view, such that the shaman's head, body and feet correspond to the upperworld, middleworld and underworld. In addition, animism, totemism and ancestral worship appear in the shamanism's spiritual view. For example, the costume's form shows the totem of each tribe, while the costume accessories reflect animal worship, plant worship and ancestral worship. Finally, shamanism's nature view mainly manifests through three processes: personification, deification, and ethics. As an intermediary between man and the spirits, shaman use their clothing to reproduce the image of half man and half spirit. The shaman's costumes are deified and considered to have divine power. For example, the animals represented on the costume help the shaman travel through space. Generally, good animals help a shaman enter the upperworld, while animals that help a shaman enter the underworld are considered evil. Also, the number of hanging accessories represents the shaman's ability.

• 헤리티지:역사와 과학
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• 제46권1호
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• pp.188-207
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• 2013

본 연구에서는 1817년에 거행된 효명세자의 입학례 의주(儀註)와 절차별 장면을 담은 국립문화재연구소 소장본 ${\ll}$왕세자입학도${\gg}$를 중심으로, 입학례 절차에 따라 왕세자가 착용하는 복식의 종류와 구성에 대하여 살펴보았다. 입학례를 구성하는 첫 번째 절차인 <출궁의(出宮儀)>는 산선시위를 비롯하여 세자시강원과 세자익위사 관원들, 그리고 의장군들이 왕세자와 함께 동궁을 출발하여 성균관을 향하는 절차이다. 산선시위를 비롯하여 세자시강원과 세자익위사 관원들이 동행하고, 이 대열 앞에 의장군이 앞장서 출궁을 알린다. 이때 왕세자는 서연복(書筵服)을 착용하였다. 서연복은 익선관(翼善冠)과 곤룡포(袞龍袍), 독옥대(禿玉帶), 흑화(黑靴)로 구성된다. 그러나 입학례 당시 효명세자는 아직 관례를 치르지 않은 상태였으므로 익선관 대신 쌍동계(雙童?)라는 머리모양에 쌍옥도(雙玉導)를 꽂는 공정책(空頂?)을 썼다. 곤룡포는 다홍색 안감을 넣은 아청색 혹은 자적색 곤룡포를 착용하고, 허리에는 청정(靑?) 독옥대를 띠며 청색 또는 흑색 깃 장식의 흑피화를 신었다. 성균관에 이르면 <작헌의(酌獻儀)>, <왕복의(往復儀)>, <수폐의(脩弊儀)>, <입학의(入學儀)>를 치르게 되는데, 그동안 줄곧 학생복인 청금복(靑衿服)을 착용하였다. 왕세자는 학생복으로 연두건(軟頭巾)을 머리에 쓰고 아청색 도포를 입고 자적색 세조대, 흑화를 착용하였다. 도포 안에는 대창의와 중치막을 받쳐 입었다. 왕세자가 성균관에서 학생복을 착용하는 것은 왕세자가 왕위 계승자로서의 서열을 내세우는 자리가 아니라, 학문의 스승을 맞이하고 유학의 학맥을 잇는 자임을 표방하는 자리이기 때문이다. 성균관에서 의식을 마치고 궁으로 돌아온 후, 효명세자는 창경궁의 시민당(時敏堂)에서 입학례의 마지막 절차인 <수하의(受賀儀)>를 거행하였다. 이때 원유관복(遠遊冠服)을 착용한다고 하였으나 관례를 치르기 전이므로 원유관 대신 공정책을 사용하였다.

• 한국의상디자인학회지
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• 제13권2호
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• pp.175-183
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• 2011

Based on an investigation of Miao ethnic group costumes, this research focuses on redesigning and reinterpreting of the Miao costume. The results are summarized as follows. According to the constitution of the clothes, the decorative parts and the way people wear them, women's clothing can be divided into five categories: Sangseohyeong, Geomjungnamhyeong A, Geomjungnamhyeong B, Cheongeomjeonhyeong, Haenamhyeong. Miao consists of straight lines with creases for both skirts and trousers. With the excess part of the belt or apron, X-shape and H-shape are formed. There are three basic decorative patterns: geometric patterns, animal patterns and plant patterns. In addition, there are three color values: warm, cool and dark. Silver Jewelry plays such an important role in the Miao Costume that the process of the production is also very special for the Chinese national dress. According to the features of the five types of Miao, then redesign and re-interpreted of them.

• 대한가정학회지
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• 제41권9호
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• pp.43-54
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• 2003

The purpose of study is to survey the system of the Korean Gangsin-mu shaman costume and its formative character and to fine out the traditional follow patterns of government officials' attires and Po's meaning of it. The overall shape of variety 'Po's in modern times are similar to the traditional ones, but they differ greatly in size, detail color, and ornamental design. The sleeves have slits in the armholes, which can allow the hands to be drawn out easily. In addition, the knot buttons are used in the modern costumes. They are based on different formation skills from those of the traditional The original color of the shaman's costume is not their taste in color but symbolic, modern costumes color show the shaman's taste in color. This change mean a more accentuated visual effect than incantatory meaning. Another reason for color change is also the costume's material. A kind of constituent element uses synthetic fiber in modern times.

• 대한가정학회지
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• 제49권8호
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• pp.13-24
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• 2011

This paper purports to find the characteristics of blue costumes as expressed in modern fashion. As such, we made an empirical analysis, using 436 works from 2006 S/S through 2010 F/W collections. Result indicated that modernness was emphasized by applying a minimum expressive technique to items of a simple form, and an image of simplicity was emphasized by placing focus on the rational color image of blue. Second, images of blue, such as trust, stability, and success were expressed as refined elegance through the combination of tight silhouettes, glossy and translucent materials, and indirect exposure. Third, natural image was expressed through natural silhouettes, soft or natural materials, gradation of various tones, and natural motif decorations as well as the color itself. Fourth, dynamic image was expressed by introducing fashion items, mostly worn by men only, to simple and tight forms or through the inspiration of a masculine fashion image. Fifth, abstinent image was expressed by using an image of religious apparel or symbols, covering up the body, minimizing details, and using a dark blue tone.

• 복식
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• 제59권8호
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• pp.15-25
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• 2009

The structure and material of Mang-geon from excavated tomb of Yi-ikjung in 1700', Seoul, were analyzed and identified. The Mang-geon was worn by Yi-ikjung when it is found. Until now, it is know that Mang-geon is made of horsehair, but it find out to be made of silk threads. This result verified the presence of 'sa-kyul Mang-geon' which been estimated to used only for document records. This proves Mang-geon has been produced in the silk threads as well as horsehair and human hair. The front and back of the Mang-geon was made of intertwisted silk threads by using simple linking method. Dang is constructed of looped linking method. The size of Dang is wider, which give greater flexibility to wrap top of head.

• 복식
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• 제41권
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• pp.153-168
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• 1998

The purpose of this study is to examine, specifically, the external and internal characteristics of anti-fashion expression in the Korean student movement after the 1945 Liberation. The dress expressed in the student movement represented the purity of student and characterized resistance, and this character expressed strongly in 80s, faded from middle of 90s. Until the 60s, the student movement was not characterized by, so activist students wore dress and suits. It symbolized students as an elite group of society. They added on head-bands to express resistance. In the 70s, activist students wore school uniforms, school military training wear, blue jeans and loose shirts in demonstrations. They tried to express re-bellion against the government and the older gen-eration. In the 80s, the period was remarkably distingusihing by the economic growth at that time. Activist students wore T-shirts with Korean letters and popular paintings specially made, Korean costumes, wrapped in the Taggeuki (Korean national flag), and refused wear on jeans because of anti-Americanism. They also wore masks, muffled their faces, and got their heads shaved. These anti-fashions are very strong expressions for the national independence spirit, national traditional heitage, anti-foreign power and anti-American. In the early 90s, activist students wore reformed Korean costumes specially made group uniforms, after that they wore casual everyday clothes with caps. They tried to express remarkable resistance in the early 90s, but after the mid-90s expression of resistance weakened and faded, so there was no distinction between activist and non-activist. There are the reasons why the student movement changed after the peaceful transfer of political power.

• 박물관보존과학
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• 제2권
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• pp.9-17
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• 2000

본 논고는 충북 음성 소재 순천 박씨 시조묘에서 출토된 섬유류 유물의 보존처리에 관한 것이다. 조선시대 분묘에서 출토된 의복과 직물 등 섬유류 유물은 물에 흠뻑 젖어있었고 목관내에서 발생된 부패물질로 오염되어 심하게 악취가 풍기는 상태였다. 이들 유물을 증류수로 습식 세척하여 오염물을 제거한 후 실내에서 자연 건조하였고 이 과정에서 유물의 형태를 보정하였다. 손상부위는 얇은 견직물과 견사를 이용해 복원하였다. 처리를 마친 유물 중 의류는 오동나무로 만든 보관상자에 한 벌씩 수납하였으며 직물류는 지름 6 cm와 10 cm의 종이로 만든 원통에 감아 보관하였다. 이들 섬유류의 수납을 위한 방미처리(防黴處理)에는 티몰(thymol)을 사용하였다.

• 한국의류산업학회지
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• 제5권1호
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• pp.43-52
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• 2003

The purpose of this study was to investigate the characteristics of traditional blue color between Korean and Japanese traditional costumes. Korea and Japan as the neighboring country of geographically and historically, but showed obvious difference in traditional color. In this study we investigated the blue color characteristics that appear on Korean and Japanese traditional costumes. We researched the characteristics of blue color on color names and color tones through the old Korean and Japanese literatures, costume remains and restoration dyeing fabrics. This study researched the Chosun Period in Korea and Edo Period in Japan. The results of this study Were as following; Many differentiation colors appeared in Chosun and Edo period than former ages. These differentiation colors were made giving differences gradually in basic color, hue, value and chroma. The blue color names appeared 40 names in Chosun Period and 57 names in Edo Period. In these blue color names of Chosun and Edo Period, the common color name was not more 'indigo'. The most highly appearanced blue color hues of costume remains in Chosun and restoration dyeing fabrics in Edo Period were blue and purplish blue. The most highly appearanced blue color tones were dull and moderate. By result of preceding descriptions, the characteristics of national color were not come from difference of dye and dyeing method, could know that come from difference of society and cultural environment.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 International Costume Conference in Association with ICOM 2004 SEOUL
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• pp.100-101
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• 2004