• 제목/요약/키워드: reproduction costume

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한국과 일본 축제의 백제복식 재현에 관한 연구: 백제문화제와 사천왕사왔소축제의 행렬복식을 중심으로 (A Study on the Reproduction of Baekje Costumes Exhibited in Korean and Japanese Festivals: Focusing on Parade Costumes from Baekje Cultural and Sacheonwangsawasso Festivals)

  • 마유리;김은정
    • 대한가정학회지
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    • 제49권5호
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    • pp.11-22
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    • 2011
  • This study aimed to suggest more appropriate and accurate festival costumes based on a comparative analysis on various reproduced costumes and a period review of traditional festival costumes. In particular, the comparative analysis examined festival costumes which appeared in Korean and Japanese festival parades during the Baekje Period. The Baekje Cultural and Sacheonwangsawasso Festivals were examined. A literature review as well as field research and digital restorative techniques were used in the study. The reproduction patterns of Baekje costumes from both festivals were compared with original Baekje costumes, demonstrating several differences in the configuration, material, color, and shape of the costumes in addition to the way they were worn. Based on the comparative analysis, Baekje costumes used in Festivals were grouped into three categories: King's Costume, Queen's Costume, and Government Official's Costume. Dress sketches and 3D illustrations also have been presented.

세종 회례연 공연을 위한 의례복식의 유형 고찰 (An Inquiry into the Types of Ceremonial Costume Worn for the Performance of Sejong Hoi-ryeyeon)

  • 백영자
    • 복식
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    • 제60권1호
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    • pp.135-144
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    • 2010
  • This study is on the reproduction of King Sejong's costume presented in at the National Classical Music Institute in the late of 2008. The performance was presented focusing on the idea of ceremonial music of hoi-ryeyeon produced in the reign of king(1433). The reproduction of King Sejong's costume was undertaken to keep pace with the times and to pay due regard to the performance costume. The implications of the study are as follows. King Sejong's Hoi-ryeyeon ceremonial costume is a royal robe(gonryongpo), the best one of king's clothing. The basic type of gonryongpo is that of fastening four yongbos to danryoung. The type of gonryongpo is, therefore, made with reference to unearthed articles and portrait of the first king of the Yi dynasty. The yongbo is larger one than the late period of the Yi dynasty in the light of portrait of the first king of the Yi dynasty. The supporting type of gonryongpo is that of gonryongpo, dapho, and chulrik, king's dress granted by Myeong dynasty. In the late period jikryeong was used as supporting dress and fixed to be lining and included jikryeong. Therefore the order of supporting dress was jikryeong, dapho and chulrik and was reproduced with reference to unearthed articles in the early Yi dynasty, as did the small piece of crown, belt and shoes.

축제에서 재현된 백제행렬복식의 현황연구 - 한성백제문화제와 영암왕인문화축제를 중심으로 - (A Study on the Current Status of Baekje Parade Costume Shown in Festivals - Focusing on Hanseong Baekje Cultural Festival and Yeongam Wangin Cultural Festival -)

  • 마유리;김은정
    • 한국의상디자인학회지
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    • 제17권2호
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    • pp.27-43
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    • 2015
  • Festival costume shown in festival parades targeting historical events or figures helps to understand the theme of festival and grants visual effects and at the same time, is an important factor to identify then-cultural environment. Accordingly, this study aims to make a periodic review of traditional costumes used in parades for Hanseong Baekje Cultural Festival and Yeongam Wangin Cultural Festival which are both the festivals that backgrounded Baekje period, make a comparative analysis of the archetypes of reproduction costume vs Baekje costume, understand the problems of festival costume, and seek developmental directions. After making a comparative analysis of reproduction costume shown in festival parades, it was found that king costume, queen costume, governmental official costume, and humble class costume were all different from Baekje costume in terms of configuration, materials, color, shape, and creating method of costumes, and problems were drawn. When it comes to costume items, Pasul and Danryungpoh that didn't belong to Baekje period were worn. The problems in color research can be identified in governmental official costume. The problems in type of costume are shown in the length of po worn outside, margin of width, and degree of restoring accessories. Therefore, it seems to be necessary to convey and identify costume creating method by festival parade-related persons.

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코스튬플레이 패션에 대한 연구(1) - 인터넷쇼핑몰을 이용하는 코스튬플레이어 중심으로 - (A study on costume play fashion-mainly on the costume players who use internet shopping malls)

  • 백천의
    • 한국의상디자인학회지
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    • 제8권1호
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    • pp.137-144
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    • 2006
  • Though old generation criticizes on costume play that it is accepted by young generation without any criticism, it is gaining popularity and is settled with unique Korean characteristics. The study is to understand the characteristics of costume play and investigate on the attitude of costume players enjoying it. For this study, a survey was conducted on costume players who order tailor-made costumes or rent them by using references, existing papers and internet sites. The results are as follows. 1.37% of costume players live in Seoul and Gyeonggi area, 37% in Gyeongsang-do and Busan with 21% in other areas. Two areas shows higher rate than any other regions, as Seoul Comic and Busan Comic are held regularly and there are faster exchange with Japanese culture in these areas with enough money 2. Among costume players, female accounts for 73.7% with 26.3% male. It shows that female likes costume play more than male. It is because woman responds actively to what she likes than man does. The number of male is steadily increasing. By age, high school student is 40%, middle school student is 36%, older than 20 is 16% with 3% of elementary school student. 3.61% of them like the reproduction of character costumes, 14.7% like Pancos and another 14.7% likethe reproduction of character costumes and creation. 69.5% participates in costume play both in groups and individuals, 26.3% in groups and 4.2% in individuals. 45.3% participates in comic more than 8 times in a yew, 43.2%, 1-2 times and 11.6%, 3-4 times. Mostly they want $50,000{\sim}80,000$ won costume. 4. on the criticism of old generation that costume play is nothing but the imitation of Japanese culture, 87.4% of the respondents answered 'absolutely not' They think costume play is one of their favorite cultures. 5. on the parents response to costumeplay, 87% of the respondents answered 'Ethey understand', 13% said 'they cannot understand and dissent'. The respondents said costume play didn't affect their school records with 25% respondents who said they got better grades.

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코스프레 코스튬의 특성 (Chracteristics of Cosplay Costume)

  • 조현진;조우현
    • 한국의상디자인학회지
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    • 제8권2호
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    • pp.109-123
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    • 2006
  • Cosplay is compound of 'costume' and 'play' and teenagerses disguise equally with populace star or cartoon master who like and it is typical culture of character generation as play that imitate to dress and hair style, gestures. Type of cosplay costume get devided as following according to cosplay object. Animation cosplay costume represent person who appear in cartoon and animation equally. Fan cosplay costume imitates entertainer or celebrity. Game cosplay costume represent character of internet on-line Same. Movie cosplay costume is more realistic than animation or game Character as that imitate moviestar. Character cosplay costume is used by commerce purpose brand or event. Characteristics that appeared commonly in types of cosplay costume are as following. First, cosplay costume is consisted of peculiar mechanism that cosplayer perform series progress such as work selection, design development, manufacture, production, acting alone in aspect of Performance costume. Second, according to cosplay object, degree of representation became different. Character is stronger, because the characteristic is emphasized, tendency that degree of reproduction becomes low showed. Third, cosplayer's distiction appeared according to material selection, design development method and analysis.

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전통 세계화의 실천으로서 한국적 오리엔탈리즘(Orientalism)의 해석 - 2000년부터 2012년까지 디자이너 김지해·이진윤의 작품을 중심으로 - (The interpretation of Korean orientalism as the practice of globalization of tradition - The study on the designers Kim Jihaye and Lee Jeanyoun's works from 2000 to 2012 -)

  • 최승연
    • 복식문화연구
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    • 제28권2호
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    • pp.245-264
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    • 2020
  • This study identifies Kim Jihaye and Lee Jeanyoun as actor-networks with cultural values and meanings. It analyzes the process of reorganizing their works into Korean orientalism via an action of co-construction with formative techniques. First, the historical context of orientalism formed in the fashion world will be studied, followed by the design characteristics of orientalism, and the correlation between the Korean orientalism of these designers on the world stage influenced by the globalization discourse of Korean tradition since the 1980s. Next, works of Kim Jihaye and Lee Jeanyoun from 2000 to 2012 will be analyzed, revealing aspects of Korean image reproduction. Consequently, this study finds that the Korean image is restructured socio-culturally through technological imagery as a reproduction of reality by the production subject. This study reminds us of the reflective and cultural meaning of fashion designers in the area of image reproduction, sociocultural practice, and materials and technology.

조선초기(朝鮮初期) 요선첩리(腰線帖裏) 재현에 대한 연구 (A Study on the Reproduction of Yoseon-Cheobli (腰線帖裵) of the Earlier Joseon Dynasty)

  • 김진홍;조우현
    • 복식
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    • 제61권2호
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    • pp.102-115
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    • 2011
  • This study is about reproduction of Yoseon-Cheobli excavated from Byun-su tomb in earlier Joseon Dynasty. There are three Yoseon-Cheobli in Byun-su tomb. The producing process is made in concrete by suggesting the process of producing clothing. Based on the Annals of the Joseon Dynasty, the most frequently recorded one, was reproduced by dying fabric with safflower and indigo plants. Through the research about their specific size, sewing method and construction, it have been produced in the following. First, the revealing that collar to be half-square and to compose the line in the center of collar. The width of the collar is 11.6 12.1cm. Second, the 21~22 pairs of waist lines that are 13~14cm in width fixed at intervals of 0.3cm. The method of making waist lines is twisting either fabrics or silk threads. Third, fine gathering around the part of the waist of skirt, and the size of fold surface is 0.2cm. Sewing method needs running stitch and backstitch. As the result of producing the cloth, it became to possess more ornamental features after transformation suitable to the new environment while the same remained functional features for everyday life such as a dressing shape, length of the bodice and curvy completion line of a collar strip.

세종조 회례연시 관모 재현 - 진현관, 피변, 부용관을 중심으로 - (Reproduction of Kwanmo worn during the Hoeryeyeon(會禮宴) Performances in the reign of King Sejong - Focusing on Jinhyunkwan, Pybyun, Buyongkwan -)

  • 조우현;조현진
    • 복식
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    • 제64권6호
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    • pp.65-77
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    • 2014
  • This paper is on the reproduction of kwanmo, which is worn by the dancers in Taepyeongjiak at the National Classical Music Institute, focusing on Jinhyunkwan, Pybyun, Buyongkwan. Taepyeongjiak is a performance of the court banquet called Hoeryeyeon held during the 15th year of Sejong'reign(1433). The Hoeryeyeon performances were held on January 1st and December 22nd, to strengthen the good relationship between the King and his officials. The reproduction of kwanmo worn by the dancers was reproduced for the modern performances on the basis of the literature and relic research. The results of the study are as follows. Jinhyunkwan is the kwanmo that is associated with the literature and it comes from an old Chipokwan, is confirm that liang(梁) of Chipokwan's characteristic vanished. Pybyun is kwanmo which is associated with the military, comes from Jeolpung. The incision line was formed to make the corn shape, and this became the liang(梁). Buyongkwan is corolla adorned with lotus, and is highlighted with colored string of beads. Unlike other corollas, its gilt lotus was adorned with purple-yellow braids.

대체전시용 복식유물의 제작을 위한 제안 (Proposition for Duplicaion of Traditional Costumes for Alternate Exhibition)

  • 박성실;박지선
    • 복식
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    • 제58권5호
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    • pp.232-246
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    • 2008
  • The museum starts from drawing many visitors by opening remarkable exhibitions, and finally aims to realize the social and educational value. However artifacts on exhibition have antithetic conditions like limitation of collection, problems of preservation, etc. Already the museum exhibited paintings and fine arts reproduced with complete fidelity, so artistic artifacts have meet the aims of exhibition. we would like to make an alternative proposal about costume relics in this way. Costume relics need to reproduce in two ways. The one way is to reproduce with complete fidelity and the other way is to restore the original form. The reproduction and restoration need a concrete survey, historical research, textile like artifacts. Furthermore it is important to reconstruct breakage and discoloration. Permanent exhibition consisted of reproductions helps appreciating as well as protecting artifacts, so exhibition effect will be enhanced.

프렌치 후드 제작에 관한 고찰 I (A Study on the Restoration of Frenchhood)

  • 김경희;문윤경
    • 복식문화연구
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    • 제11권2호
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    • pp.243-252
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    • 2003
  • The study was designed to review the changes in designs and the manufacturing methods of french hood, one of the headdresses which play an important role in showing the appearance of costume, to understand design expression techniques through manufacturing of the head dress of the western costumes, and to provide materials to exert creativity for new designs. Based on literature review and portrait study, 1 manufactured a frenchhood. I set the study cope as from the late 15 century when frenchhood was used for the first time, to the mid 16 century. For the frenchhood selected, 1 examined the hair style, the characteristics of the french hood, and the pattern first, and proceeded to manufacturing. 1 used velvet and silk for the textile as explained in the literature. And, 1 purchased such similar ornaments as shown in the pictures, making the color so similar to the original to the most. Dimensions in manufacturing were those In the literature, since the study is focusing on the reproduction of the features of the portraits. Dimensions of detailed decoration were measured using the ratio of the headdress in the portraits.

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