• 헤리티지:역사와 과학
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• 제54권2호
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• pp.78-97
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• 2021

1795년 윤2월 12일 서장대에서 행해진 군사훈련을 그린 <서장대야조도(西將臺夜操圖)>를 중심으로 관직자의 유형별 복식과 유형별 복식의 구성에 따른 특징을 고찰하였으며 고증 결과는 다음과 같다. 첫째, 서장대 안팎에서 왕 가까이에 위치한 관직자는 모두 34명인데 당상관 27명, 당하관 7명이었다. 34명 관직자의 복식 유형은 모두 3종으로 갑주·융복·군복으로 분류되었는데 그 중 갑주 착용자 12명은 모두 당상관이었고, 융복 착용자 5명은 당상관이었으며, 군복 착용자는 당상관 11명과 당하관 6명이었다. 둘째, 갑주의 형태 고증은 말 타기에 적합한 여반 장군의 갑옷 유물과 『무예도보통지』의 갑주 그림을 참조하고, 착용의 실용성을 고려하여 갑옷의 구성품을 정하였다. 갑주의 구성품은 투구, 갑의, 갑상, 호항, 호액, 비갑에 골미를 추가하였다. 갑주 색상은 <서장대야조도> 갑주에서 가장 표현 빈도가 높은 홍색과 녹색으로 고증하였다. 셋째, 당상 융복의 구성은 호수를 장식한 주립, 남색 철릭, 홍색 광다회, 정, 수화자로 고증하였다. 넷째, 군복 구성은 안을 올린 전립, 동다리, 전복, 요대, 전대, 수화자로 고증하였다. 군복에서 당상과 당하의 직물차이는 문양의 유무에 있었는데 당상관은 운보문 직물을, 당하관은 문양이 없는 직물을 사용하였다. 그리고 당상관은 장식품의 세부 재료에서 옥과 금, 은을 사용하였다. 그 외에 무기는 시복, 환도, 등편, 비구와 깍지 등을 갖추었다. 정조대 기록에는 다양한 색의 협수가 보이므로 당상관과 당하관의 동다리와 전복 색상은 다양한 배색으로 고증하였다. 이상의 고증 결과를 반영하여 콘텐츠 제작을 위한 복식의 시각화 자료로 제시하였다. <서장대야조도> 관직자 복식의 고증 결과를 반영한 시각화의 기본 원칙에서 3D 콘텐츠 제작이나 실물 제작이 가능한 기준을 제시하였다. 시대와 신분에 따른 형태·색상·재질의 견본, 각 복식과 지물을 패용한 앞·옆·뒤 모습을 제시하고 색상은 RGB와 CMYK로 제시하였다.

• 박물관보존과학
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• 제13권
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• pp.37-44
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• 2012

심수륜(沈秀崙, 1534 ~ 1589)묘 출토복식에서 발견되는 백색 결정의 특징과 분포양상을 조사하고, 그 중 7점에서 시료를 채취하여 성분과 결정구조를 분석하였다. 총 46점 중 36점에서 경도와 형태가 조금씩 다른 백색 결정이 관찰되었는데, 결정의 생성은 직물소재나 복식용도와는 특별한 상관관계가 없었다. 다만, 복식의 앞부분보다는 뒷부분에서 주로 관찰되었으며, 염습 흔적이 있는 곳을 중심으로 분포되어 있는 양상을 보였다. 결정의 성분은 전자현미분석기(EPMA)로 분석하였으며, 결정 구조는 X-선회절분석기(XRD)를 이용하였다. 퓨리어변환적외선분광기(FT-IR)를 이용하여 다른 유기성분이 포함되어 있는지를 조사하였다. 분석결과 백색 결정은 마그네슘 인산염 무기결정인 스트러바이트와 뉴베리아이트로 동정되었다. 스트러바이트 결정의 생성은 Mg²⁺, NH₄⁺, PO₄^3- 이온의 농도, pH, 그리고 온도 등 여러 가지 요인으로 부터 영향을 받는다. 스트러바이트의 구성물질인 마그네슘, 인산, 암모니아는 인체 분해 생성물로 피장자의 인체에서 기인했을 가능성이 있다. 마그네슘의 높은 농도는 회곽에서도 영향을 받았을 것으로 보이며, 또한 관 내부의 혐기성 미생물과 약염기성 환경도 생성의 요인으로 작용하였을 것으로 추정된다. 결과적으로 조선시대의 독특한 무덤양식인 회곽묘는 심수륜 묘 출토복식에서 발견되는 마그네슘 인산염의 생성과 밀접한 관련이 있을 것으로 보인다.

• 패션비즈니스
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• 제2권3호
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• 복식
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• 제66권6호
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• pp.46-66
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• 2016

This thesis aims to analyze the costume changes according to the ideological transition through the portraits of Napoleon Bonaparte. This study selected 32 color pictures of Napoleon, which was taken during his time as a general to his ascension as Emperor (1785-1815). The study qualitatively analyzed the traits and costume elements in view of the items, color and ornaments of the costume, while studying the effects of the ideological transition. The costumes of Napoleon were categorized into three parts: general, governor and Emperor. Firstly, Napoleon most frequently wore the navy uniforms when taking the portraits as a general. The uniform gave Napoleon the image of strength, youth and intelligence, which reflected the ideology of enlightenment. Secondly, the red-colored administrator uniform, combined with a military coat with culotte, was worn to make the governor look intelligent, which would ascribe to the ideological demand of the enlightenment. Lastly, his portraits as emperor showed him in long white tunica, combined with red-colored coronation cape ornamented with embroidery, ermine fur, and the crown of laurel. This costume denoted both the enlightenment and also the neoclassical trend aspiring for the return to the Greek and Roman era. In this way, the portrait of Napoleon might be expected to reflect the periodical change of the ideology through describing the transition of the costumes. It might be evident that his image of the strong general changed to that of an intelligent governor, which was in demand when the enlightenment idea became popular. When Napoleon became the emperor, his image changed into that of a Roman emperor, which implies that neoclassical ideas were used as source of influence.

• 복식
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• 제60권7호
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• pp.117-130
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• 2010

The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.

• 복식
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• 제62권2호
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• pp.40-54
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• 2012

The significance of this research lies in the analysis of that appears in the comedy . It also aims to propose conceptual and analytical costume designs that emphasize the formal aspects of play by reflecting on the comical elements simultaneously. , the subject of this study, was played on November 12, 2009 at the Small Theater (Dalohreum Theater) in the National Theater as a celebration of the 40th anniversary of Suwon Women's College. The costumes were designed by this researcher and were produced in collaboration with the Creative Performances Research Institute (Suwon Women's College). The comic elements were categorized into deconstruction, deviation and unexpectedness according to previous studies on the humorous nature of comedy, and their aesthetic meanings were applied to the costumes. The designs that reflect the comic elements are as follows. The costume design reflecting deconstruction is a way that disassembles and recombines constructive aspects of clothing. It consists of seam margins outside or just left disassembled without sewing, dismantling the boundary of outerwear and underwear. The costume design reflects deviation because reformed shapes of collars, the variation of length and closure of skirts deviate from the traditional style. These are designed by distorting traditional designs with deviation and transcend of tradition. The costume designs the reflect unexpectedness integrates both tradition and the contemporary, and use materials of diversity and heterogeneity, and these are composed of external formats the result from incongruity. Because comic elements are metaphysical concepts that carry meanings that are difficult to define according to the country and period, it is required to analyze, organize and utilize their characteristics and meanings of each period. Since this study analyzed the comical elements of a play and applied them to costume design, it is hoped that a follow-up study of analytical costume design is be done, and that more diverse and more creative costume designs are in the next generation.

• 복식
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• 제65권8호
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• pp.95-109
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• 2015

The purpose of this Study is to understand Supsin (shoes for dead) in late Chosun dynasty through records and excavated relics. The research records in this study were two types which one was official records as The Annals of The Chosean Dynasty(朝鮮王朝實錄), Dairy of the Royal Secretariat(承政院日記) ets and the other was private records as Korean literary collections of confucian scholars in classical chinese(文集) ect. as for relics use two types of materials that one is the excavated supsins and the other is Research Reports of Excavated Costumes published from museums. Through the Collections, we can notice that shoes were several types which Wunhae(雲鞋), Danghae(唐鞋) Onhae(溫鞋) Wunli(雲履), Taesahae(太史鞋) in Chosun dynasty. these were worn in different ways according to wearer's gender, the social status, daily life or rituals, inside or outside in palace. Wunhae and Wunli was the most ceremonial shoes for man and Onhae was the most ceremonial shoes for woman. the dead man worn the Wunhae or Wunli for Supsin and the dead woman worn Onhae. we could see they use the most ceremonial shoes for supsin. through the records, we could see the change that Women's Supsin was written for the first time in 18th Saraepyenram(四禮便覽). men's Supsin was recorded as '履', while Women's Supsin was recorded as '鞋' in Saraepyenram. the reason for making difference between man and woman in costumes(男女有別). and the excavated Supsin showed that the dead worn more ceremonial shoes than records. these changes mean one of the results for making korean style rituals from chinese style(國俗化).

• 복식
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• 제57권1호
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• pp.105-117
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• 2007

The purpose of this study is to help the understanding the characteristics in the costumes of men and women throughout the overall acceptance process of 'Naewaebub' in the late 'Chosun Dynasty' in which the notion of 'Naewae' is more prosperous than any other period in Korean history. Originally the distinction between man and woman was not intended to display the high and the low but to show the mutual respect according to each duty. As time goes on, that ideal became gradually changed to heighten the man and lower the women especially in 'Han' period of China. There was the ideal of distinction in the ancient times in Korea. Until 'Koryo Dinasty' the community has the system of blood-tied that put together maternal and paternal. 'Karye' was introduced in the late 'Koryo Dynasty' and accepted to the stereotype of morale in the 'Chosun Dynasty' and there seemed to be 'Samgang' and 'Oryun' at once. Many restrictions was imposed to behavior in women like rules of prohibition in attending the temple and concealment of woman's face and was recognized to rule of distinction between man and woman. Confucian life custom has been settled to Korean society throughout the late 16th century and 17th century and there were some appearances in the housing construction which divide the residences of man and woman. The characteristics in the costume from the avoidance of opposite sexes are clear in the structure of clothes changed from similar style to different style. The examples of those characteristics are as fellows. The costume in man was developed to advanced 'Pyoun-bokkwan' and 'Pyounbokpo' as social action of man prospered. Meanwhile the trousers which had been the same in the man and woman were separated to different trousers between man and woman. The costume life style of woman was changed to using the a hair whirl, hiding the face in the street and overlapping the innerwear under the skirt which was extension of woman's closed life style in late 'Chosun Dynasty'.

• 복식
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• 제57권3호
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• pp.108-123
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• 2007

The purpose of this study is to investigate costumes worn by high government officials which are illustrated in Tamna Sullyeokdo at the era of King Sukjong of the Joseon Dynasty. The findings of the study are as fellows: 1. Tamna Sullyeokdo showed that Moksa wore an simplified version of Jobok at a congratulatory ceremony. They wore Sibok at such events as examinations, Yeonhyang or Jinsang. Particularly at Yeonhyang, Samo was decorated with some red flowers. The officials wore Yungbok when they were participated in military training, hunting or arrow shooting competitions. They wore Pyeonbok when they go on a trip 2. Pangwan wore Sibok when they took an examination. They wore Yungbok during military training while they wore Pyeonbok during Tamseung. 3. Hyeongam wore Sangbok at a congratulatory ceremony. When they take part in military training, examinations, Yeonhyang or Jinsang, those officials wore Sibok. They also wore Yungbok during military training, Yeonhyang or Jinsang. They wore Jurip decorated with some red flowers during Yeonhyang. And they wore Pyeonbok when they were inspecting military training of Seongjeonggun. 4. Gungwan wore Yungbok at every events. They wore Jurip decorated with Hosu and Jeonrip on their head, and wore Cheolrik during military drills, arrow shooting competitions, examinations, Jinsang, or Tamseung. They wore Jeonip decored with red flowers during Yeonhyang. During regular military trainings, those officials wore Jeonrip decorated with Sangmo on their head and wore Cheolrik and Jeonbok. During Tamseung, they wore Jeonrip decorated with Sangmo on their head and wore Jeonbok with Jungchimak or a set of Jeogori and Baji.

• 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.