• 한국의상디자인학회지
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• 제14권4호
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• pp.89-98
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• 2012

The purpose of this study is to female child Han-bok reform design for body growth. Nowadays there is common the western style daily life and special day instead of traditional style Han-bok in Korea. So the decrease in the use of Han-bok have being appeared. Specially, Children's Han-bok undesirable clothes for economic, environment, and resources because of their rapid growth and changing trend. Therefor, they do away with used Han-bok without next buying of school age. Children's parents and children are decision together purchase of children's Han-bok on-line for pleasure and economic reasons on pre-school or 1st year student for their tradition-education class. After 2000year, children's Han-bok pup-up on e-market because of the fashion focus on tradition and Korean wave for parody of Korean drama. Flowing the Research of 2010 Size Korea, the elementary school age child height growth 6cm per year, the sleeve length are 3cm growth. But Chi-ma(a pice of Han-bok) from e-market, has only 5cm margin on shoulder and no margin on Jegori(a pice of Han-bok) shoulder and sleeve, reason of that the children can't wear next year. Therefor this study is development female child Han-bok reform design for body growth, for extend to wear Han-bok on school age children and flow tradition custom of Cho-sun Dynasty's clothing custom for boost tradition conscious and reduce of cloth waste for environment.

• 한국전통조경학회지
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• 제37권4호
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• pp.51-59
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• 2019

본 연구는 이동식 정자의 설계시공방법을 살펴보고자 문헌분석을 통해 조영 배경과 입지와 향의 설정, 규모와 구성, 재료, 시공방법 등을 분석함으로써 다음과 같은 결과를 도출하였다. 첫째, 이동식 정자는 곳곳에 펼쳐진 경승을 두루 유람하기 위해 고안된 정자로 산수를 즐기는 경험을 바탕으로 자신의 집을 소유하고 정자를 경영하는 것보다 이상적인 삶을 추구하는 방식이 반영된 창작물이었다. 둘째, 이동식 정자의 조영은 계절별, 시기별 경관을 때와 장소의 제한 없이 감상하고자 하는 의도로 조성되었으며. 풍류를 즐기기 위한 도구를 매번 옮겨야 하는 번거로움을 해소하고자 고안되었다. 셋째, 이동식 정자는 경관을 조망하기 용이한 곳을 향하여 입지와 향이 결정되며, 대부분 소규모로 조성되어 그 안에서 경관을 감상하거나, 바둑, 작시, 탄금 등을 위한 공간을 구분하였다. 또한 목재를 주로 사용하고, 하중을 저감시키기 위해 대나무나 짚, 유둔, 면포 등 가벼운 소재로 지붕과 벽면을 구성하였다. 시공방식은 결합과 해체가 용이하도록 하는 결구기법이 주로 사용되었으며, 선박이나 수레 상부에 정자를 조성할 경우에는 일반 정자의 목구조식 시공이 이루어졌다. 넷째, 일반 정자와 이동식 정자의 설계시공 특성을 비교해보면 이동식 정자는 조영목적상 경관의 관람이 용이하여 입지와 향의 설정에 제한이 없으나, 기동력을 고려하고, 구조적으로 하중을 견디기 위한 방안이 마련되어야 하며, 정자로서의 기능과 형태를 만족시켜야 하기 때문에 보다 엄격한 제도와 기법이 요구되었다.

• 디자인학연구
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• 제14권4호
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• pp.117-126
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• 2001

대나무의 시대적 사상 의미를 재분석하여 21C 문화산업 시대에 천연 소재로서 새로운 의미와 환경친화적 부가가치를 창출하는데 기여하고자 하였다. 대나무의 잠재유효성과 함께 미래 죽재산업과 죽세공예의 발전가능성을 제시하였다. 죽매합판 및 대나무 모양지가 개발됨에 따라 지역 직능별 기술제휴로 시장 활성화를 꾀하고, 고 부가가치 창출을 위한 죽세장식타일을 개발하였다. 대나무 수종과 특성, 원자재 가공 및 표현 방법을 고찰하였고 급변하는 기술로 전통 기능과의 접목 표현상 기술(記述)적 오류를 재 규명하였으며, 죽재합판의 활용도를 높이기 위해 국내외 응용 개발 사례를 분석하였다. 죽세장식 타일은 대나무 모양지를 바탕으로 한 가구문(door)장식과 실내장식용으로 개발하였다. 문양 디자인은 한국 전통 문양으로 십장생의 장수, 새천년을 의미한 거북, 학, 사슴을 단순하게 패턴화하여 생동감 있게 표현하였으며, 해, 산 시리즈는 대쪽의 바림 효과를 통한 빛살 이미지와 죽재질의 효과를 극대화했다. 卍 문양은 우주의 신비, 불교시찰 의미와 함께 전통 조각보완 칠교판 놀이, 아리랑 등의 이미지를 총합하여 한국 문양으로 장식성을 높였다. 죽세장식타일은 본 연구자의 20여 년 간 죽세가공 기술경험 축척과 담양 죽물공예단지 설비 및 가구 제작업체의 공조하에 이루어졌다. 현재 원자재 가공은 현지(담양) 설비를 이용하고 있으며, 시제품 개발과 함께 대학 내 디자인 벤처 '조선대방'에서 제작 납품하고 있다. 개발 제품은 가구 업체 주문에 의해 가구문에 장식되어 시판 중에 있다.

• 복식
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• 제19권
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• 복식문화연구
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• 제3권2호
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• 패션비즈니스
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• 제3권2호
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• pp.85-90
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• 1999

A shroud is clothes for giving a dead person a bath and being finely dressed:though our routine clothes have been western, putting on a shroud has been kept comparatively well as a tradition of a conventional ceremony garments. This study is about the current using of dressing a shroud, and for presenting foundations of a way about dressing a shroud in order to make the most of this by everyone, therefore this research will be worthwhile to preserve the traditional custom of giving a dead person a bath and being finely dressed. 1. We must confirm the death of a person before we do Su-Si for controlling rightly a corse. Su-Si is ways of changing a clean clothes after bathing the dead person, tieing up hands, feet and ankles with a string, filling up a mouth, a nose and ears with a wad of cotton, laying down the dead person with his head toward east, and setting up a screen after covering the dead person with a bed sheet. 2. Here are processes of putting on a shroud. After the day of death, first of all, you must untie the string to control rightly a corpse, take off the clothes, and give a dead man a bath. You trim the dead person's fingernails and toenails, put them in O-nang, then put his hands and feet in five pouches, finally put feet in korean socks and wrap with Ak-su. You put a underwear in a overwear in order to put on the clothes easily, and then put on an upper garments after putting on trousers. And put on Sb-sin After you wash the dead person's face and his hair, you put gems and raw rice in his mouth, wrap head with cotton fabrics, and put hairs into five pouches, then put on a headgear which is filled with five pouches. 3. You tie up with hem cloth the dead person dressed a shroud after wrapping with Dae-ryum-km and So-ryumkm. 4. After you encoffin the dead person, you weave coffin strings with cotton fabrics in order to lift up the coffin easily, and lay down a red fabrics having white letters about the dead person's name or social position onto the coffin, then cover the coffin with a coffin cover : finally you leave the coffin at the former place and set up screen.

• 복식
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• 제24권
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• pp.59-82
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• 1995

All kinds of art are the creatures of the daly and reflect the society and the life of the day in literary works. So, in which literary works, we can find the styles of those who lived in the specified days. And the styles of its character's costume are expressed with the day'mood and cultural backgrounds. In this study, we studied on the general meaning, which was shown in the Costume of early Ch'ing Dynasty that was forming the Costume of dress through dividing into the underwear and the outer garment in $\ulcorner$Dream of the read Chamber$\lrcorner$. During the Ch'ing Dynasty, according to the rule : Men followed it but women not" , they held on to the costume of them (both the Man and the Han) with a high pressure and a conciliatory policy. As a result, I have known that there is the Soojean clothe(수전의), which is the late Myung Dynasty's one and their is also Skirt (군), which held on the Costume of the Myung's. Hence in the Ch'ing , there are a lot of difference in the Costume , the economy and the politic because the ruler was not the han but the Ch'ing. Those characters are as follows. first, on the side of the style , it is occured in the coat and the over jacket of the round neckline. The style of the sleeves are also the tightly(고착). Second, on the side o f the material, the use of the furs are found. It seems that are influence of the north area. Third, it is involved not the traditional Costume of the Han, but the over jacket(which is waistlength), These characters had taken root into the Costume of the Ch'ing Dynasty. In case of the jacket, which are found in the novel most frequently , it was represented by the tight jacket (소오), the long jacket (대오), the short jacket(단오) and the Sam (삼). The skirt was used by women only. the Slacks were trousers only for men, so it was not foujnd in the women's wear. In the vest, the over jacket and coat, which are for putting on, its material, insiqnia and varied embroidery are very brillant and elaborate. The used materials are the silks , furs, wools and cottons. Among the dick silks are used most frequently . in case of the over jacket, the precious and varied furs are used for the collar, the sleeve or the decoration and the lining cloth. In the novel, mean followd the Costume of the Man and women followed the Costume of the Han. Especially, it is a special costume that there were women in male attire. Finally, the costume of the Ch'ing had built the unique one with holding on the advantage and the short point s of the northen race and the Han's. Also , I can find the brilliant , eleborate Customes of the aristocratic class in the novel.

• 보존과학회지
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• 제25권2호
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• pp.219-231
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• 2009

본 연구는 대전에서 출토된 조선시대 초중기의 여산송씨가 출토복식을 보존처리함에 있어 출토복식의 세척처리 현황을 조사하고 본 출토복식의 세척과정을 보고하여 앞으로 출토복식의 세척방안에 대한 자료로 제공하고자 하는데 그 목적이 있다. 여산송씨 출토복식은 15세기의 남자복식과 16세기중후반의 남녀복식을 비교할 수 있는 좋은 자료가 되고 있다. 출토유물은 모두 184점이 출토되었으며 면, 견, 마, 교직물 등 다양한 직물이 있었다. 여산송씨 출토복식의 세척은 직물의 상태와 오염을 분석한 후 진공흡입에 의한 고형오염을 충분히 제거하고 습식세척과 건식세척방법을 시행하였으며 1, 2차로 진행되었다. 습식세척의 경우 음이온계 계면활성제(LAS)와 비이온계 계면활성제(Triton X-100)를 사용하였고 건식세척의 경우 n-hexane과 n-decane(4:6) 혼합용제 및 석유계 드라이클리닝용제를 사용하였다. 1차 세척 후 빠지지 않은 얼룩이 있는 면직물이나 마직물의 경우 표백처리를 실시하였으며 견직물 중 상태가 좋은 것은 유기용제에 의한 건식세척을 재실시하였다.

• 보존과학회지
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• 제36권5호
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• pp.315-325
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• 2020

대통사는 삼국시대 사찰 중에서 가장 이른 시기에 창건된 것으로 알려져 있다. 창건주체와 목적 및 사찰명 등은 고문헌과 공주지역에서 출토된 '대통' 명의 유물에서 확인할 수 있으나, 사찰의 위치와 사역에 대해서는 다양한 논의가 진행 중이다. 이 연구에서는 공주 반죽동 일대의 대통사 추정지에서 출토된 주칠흔(적색안료) 기와에 대해 비파괴 분석으로 제작기법을 검토하였다. 연구대상 기와의 등면에는 주칠흔이 선명하며, 원료는 정선과정을 거친 것으로 나타났다. 또한 태토를 점토판으로 제작하여 와통에 포목을 둘러 붙이는 방식으로 성형하였으며, 일부 기와는 모골와통을 활용한 것으로 판단된다. 한편 등면에서 나타나는 주칠흔의 산출상태와 조성으로 볼 때 산화철을 주성분으로 하는 석간주 또는 주토를 활용한 단청 안료로 해석된다. 고문헌에 알려진 석간주의 산출지는 공주에서 원거리에 있으나, 산화철은 다수의 암석에서 비교적 쉽게 나타나는 물질로서, 근거리의 원료수급과 관련하여 대통사 추정지를 중심으로 추가적인 검토가 필요하다.

• 복식문화연구
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• 제8권5호
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• pp.648-659
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• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.