• 복식문화연구
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• 제14권5호
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• pp.755-765
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• 2006

This study is on the esthetic characteristics in the haute couture work of Chanel. It first reviews the lives and the fashion philosophy of Chanel, a senior designer and Lagerfeld as representatives of the maison, from the haute couture collection since 2000. The results of the study are the following. First, reinterpreting the tradition, Chanel reproduced historical dress items or silhouette with modern sense, or she created a new modern Chanel image through her original restructuring and dismantling. Second, Chanel expressed balanced beauty of compounded eclecticism by accord between simplicity and ornamentation, which meant her design showed impartial beauty with simple silhouette, decoration with colors, accessories, and ornaments. Third, Chanel did not divide the value between men and women, and instead expressed androgyny through dismantling each gender's characteristics by borrowing or mixing. As a result, she emphasized the female image or created a new style through expressing symbolic image embracing masculinity.

• 복식
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• 제56권5호
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• pp.132-149
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• 2006

The purpose of this study was to establish the theoretical view for the analysis of the aesthetic characteristics of dress from the viewpoint of oriental aesthetics. Also, this study examined the universality and particularity of aesthetic characteristics in Korean and Japanese women's traditional costumes. To establish the theoretical view for the aesthetic analysis of dress from the viewpoint of oriental aesthetics, this study examined the relationship between the internal spirit of human, culture and the external form of dress. Based on this consideration, the viewpoints for the analysis of dress formation were the 'Form' as the basic structure of the external formation of dress and 'the Ornamentation' as the emphasis of the artistic characteristics of dress. The common world view shared by Korea and Japan holds the thinking system that everything is created from 'not to bee(無)' to 'being(有)'. This view emphasizes the totality and circulation of energy called 'Ki(氣)'. According to this view, oriental culture has been developed by intuition and pleasure called 'Heung(興)'. Therefore, the form of the oriental culture includes ambiguity and emphasizes the total harmony. These characteristics appeared in dress as the design of ambiguity, asymmetry and concealment. The meaning of the ornamentation in oriental world was the unified harmony of diversity and the colors and patterns of oriental dress were used by the symbolic meaning of Yin-Yang & Wu-Shing (陰陽五行)s principles. On the basis of the world view of the Ki, Korean and Japanese women's traditional costumes commonly shared the aesthetic values of concealment, emptiness, and symbolism. Also, their costumes expressed the difference, especially in the ornamentation. Korean costume expressed the beauty of simplicity and naivety, and Japanese costume expressed the beauty of ornamentation and nonornamentatIon.

• 한국실내디자인학회논문집
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• 제32호
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• pp.90-96
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• 2002

Laying stress on the upper classes of Western Europe until from the seventeenth to the eighteenth century, the chinese mode in the fields of architecture, interior design and fashion was widely liked. It is called as ‘chinoiserie’into the French language. The chinese design with its quantity and ornamentation exerted an influence upon‘Rococo’in France and upon ‘Chippendale’ in England. The chinese mode that was made best use of the furniture design is the one of Ming dynasty. This was developed in relation to the interior design of ‘Siheyuan’ that is the architectural mode in those days. The furnitures at the times of Ming dynasty was raised to the position of the golden era in the history of chinese furnitures. The furniture has the technique laying stress on symmetrical proportion, simplicity. This technique showed as the formative modeling. also on the part of decoration ornamental designs showing the china ideology of Taoism, Buddhism and Confucianism it was used. In this formative modeling the ideological background of those days forms the groundwork. The combination of reason and sentiment and of heart and mind emphasizes that our emotion should be in control by the ration and our emotion and ration should be harmonized.

• 식물분류학회지
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• 제39권2호
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• pp.63-73
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• 2009

물부추과 ($Iso{\ddot{e}}taceae$)의 물부추속 ($Iso{\ddot{e}}tes$ L.)은 외부형태의 단순함으로 인해 분류학적 혼란이 있어왔다. 국내에는 I. japonica (물부추)와 I. coreana (참물부추)가 보고되어 왔으며, 최근에 I. jejuensis (제주물부추)와 I. hallasanensis (한라물부추)가 신종으로 발표되었다. 그러나 I. japonica의 생육지는 재확인되지 않고 있으며, 이를 제외한 세 종의 생육지만 확인되고 있다. 본 연구에서는 국내의 세 종과 대만 (I. taiwanensis), 일본 (I. japonica와 I. asiatica), 중국 (I. sinensis) 등 주변 지역에 분포하는 물부추속 식물의 형태학적인 특성을 비교 검토하고 국내 물부추속 식물에 대한 분류학적 특성을 규명하고자 하였다. 이를 위하여 각 종에 대한 형태 및 해부학적 특성과 포자의 특성을 비교 검토하였다. 괴경 열편의 수, 포자엽의 습성과 기공의 유무, 포막의 발달 상태로 I. taiwanensis와 I. asiatica가 식별되며, 모든 종은 포자의 특성에 따라 종의 식별이 가능하였다. 특히 국내에 보고된 종은 대포자 표면구조물의 형태에 따라 cristate형의 I. coreana, rugulate형의 I. jejuensis와 echinate형의 I. hallasanensis로 각각 구분되었으며, I. japonica는 reticulate형을 가진 종으로 판명되었다. 그리고, 각 종을 대상으로 핵 유전자인 LEAFY $2^{nd}$ intron의 염기서열과 amplified fragment length polymorphism(AFLP) 분석 결과를 검토하여 우리나라 물부추속 식물에 대한 계통을 논의하였다. 또한, 멸종위기에 처한 우리나라 물부추속 식물을 보전하기 위하여는 새로운 생육지에 대한 발굴조사와 함께 유전적 부동의 영향을 줄이기 위한 보전 대책의 필요성을 제안하였다.