• 복식
• /
• 제62권5호
• /
• pp.125-137
• /
• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• 한국조리학회지
• /
• 제18권3호
• /
• pp.191-205
• /
• 2012

식생활이 다양화되고 편의화 됨에 따라 쌀 소비량은 지속적인 감소 추세를 보이고 있다. 국내의 쌀 소비를 촉진시키고 쌀 수급 불균형을 해소하기 위해서는 주식으로서의 쌀 외에 쌀 가공식품 개발이 필요하다. 그 중에서 술을 이용한 쌀 소비는 다른 쌀 가공식품에 비해 높은 부가가치성을 지니므로 더욱 주목된다. 본 연구는 쌀 품종과 입도의 가공특성을 달리하여 탁주를 제조한 다음 품온, 당도, 알코올 함량, 산도, 아미노산가, pH, 색도 및 관능 등의 품질특성을 살펴본 것이다. 먼저 안다, 하이아미, 추청 세 품종의 쌀가루를 이용하여 무증자법으로 탁주를 제조한 다음 입도별 품질특성을 비교하였다. 모든 탁주 술덧의 품온은 담금 2일 후 최고 온도에 도달하였다. 품종에 따른 차이는 산도와 관능 평가에서만 나타났다. 산도의 경우 안다, 추청, 하이아미 순으로 높게 나타났고, 관능 평가는 추청이 가장 높게 나타났다. 입도별로는 알코올 함량과 산도는 중분쇄 쌀가루 탁주에서 높게 나타났고 담금 직후의 품온, 당도, 아미노산가, pH, 색도, 관능은 초미세 쌀가루 탁주에서 더 높게 나타났다. 본 연구의 결과 쌀 품종과 입도를 달리하여 제조한 무증자 탁주는 추청 초미세 쌀가루로 담그는 것이 효율적인 것으로 판단된다.

• 공연문화연구
• /
• 제38호
• /
• pp.193-224
• /
• 2019

무당굿놀이는 연극적·극문학사적 차원에서 주목을 받았다. 전통사회에서 전문적 공연집단인 광대나 기생을 부를 수 있었던 상층 계층과는 달리 대다수의 일반 서민들은 굿을 통해 공연 욕구를 충족할 수 있었다. 전통사회의 무당들은 굿의 놀이적 요소와 외부의 놀이들을 굿 속에 끌어들여 서민을 위한 공연거리를 마련했다. 무당굿놀이는 종교적 맥락을 떠나 하나의 연극적 공연물로서 기능한 것이다. 무당굿놀이를 통해서 의례에서 놀이로 전개되는 과정을 알 수 있다. 입춘굿놀이·세경놀이·소놀이굿·방아놀이 등의 무당굿놀이는 농경을 기반으로 한 사회에서 풍농을 기원하는 놀이적 의례이고, 거리굿이나 뒷전은 잡귀잡신(雜鬼雜神), 즉 무사귀신과 무주고혼을 위로하고 돌려보내는 굿이다. 잡귀잡신들이 인간들에게 질병이나 재앙을 가져온다고 의식했기 때문에 신격이 낮은 잡신에 대한 굿놀이를 생성한 것이다. 무당굿놀이는 유교식 여제(厲祭)와 불교 수륙재(水陸齋)와도 일맥상통한다. 여제의 대상인 여귀(厲鬼)는 저승으로 가지 못하고 이승을 떠도는 잡귀들로, 미혼 남녀의 귀신이나 자손이 없는 귀신 등 여러 가지 사정으로 인해 제사를 받을 수 없는 무사귀신을 말한다. 조선시대에는 국가와 민간에서 여제를 지냄으로써 마을의 역질(疫疾)이나 재난을 막아내고자 했다. 불교 수륙재도 여제와 동일한 목적에서 거행되었다. 여제와 수륙재에서 잡귀잡신들을 호명하며 제사지내는 것에 비해 무당굿놀이에서 잡귀잡신으로 분장하여 형상화한 것이 더욱 강한 인상을 준다. 가면극을 비롯한 대부분의 전통연희는 무형문화재 지정 이후 전승력이 약화되고 박제화되는 경향이 있다. 그러나 현장성과 전승력이 살아있는 무당굿놀이는 연행될 때마다 변모되며 새로운 의미를 부여받는다. 무당이 사회적 변화에 대응하고 현장의 상황에 따라 잘 적응하기 때문이다. 무당굿놀이에는 샤머니즘의 요소를 바탕으로 신의 모방과 성적 결합 등 풍요·재액·놀이적 의미가 내포되어있다. 무당굿놀이는 단순히 주술적 모방을 넘어서 사회적 주제를 포함한 놀이로 분화하고 있어서 향후 무당굿놀이의 의미와 지향점을 주목해야 할 것이다.

• 복식
• /
• 제56권7호
• /
• pp.115-125
• /
• 2006

The study on plane composition in clothing was focused mainly on woven wear earlier but its application has been reaching the knit wear. This study is confined to the utilization with geometrical linear pattern in the modern apparel. The work here intends to grasp the plane structure found in both woven wear and knit wear and, in particular, to understand the aesthetics of fashion. The modern flat patterned clothing has been affected by the oriental style or postmodernism in view of social and cultural aspect while its fabric material and expression method shows the diversity in terms of industrial and technical aspect. It can be characterized as several outstanding patterns: the geometrical pattern in structure, the linear pattern with seam line and 2-dimensional plane pattern without seam line, and the flexible silhouette integrated into one single shape with human body unlike the traditional apparel The aesthetics of fashion in modern flat patterned clothing can be divided into such category as the organically spatial change, the re-creation of tradition and the non-format framework. The organically spatial change shows the geometrical formation in clothes due to change in dimension, where the organically changing uniformity and generosity appears as the dimension progresses. The timeless without any difference of up and down, left and right, and inside and outside and the discontinuity due to limitless spatial change are also imbedded. The re-creation of tradition tells the reshaped spirits of old tradition by integrating and modifying the hereditary features in the old customed clothing into modern clothing. The modern flat patterned clothing implies the contemporaneousness or the frame through which the old and modern cultures may be shared and indicates the re-creation of the past and uniformity. The non-format framework contains the uncertainty in meaning and it doesn't have any certain standards. As both the apparel and the human body with this style aim at the open space, the numerous contingencies are realized.

• 디자인학연구
• /
• 제17권2호
• /
• pp.479-486
• /
• 2004

20세기에는 물질과 분석적 디자인의 중시로 환경문제가 크게 대두되었다. 이제 21세기를 맞아 의미와 전체와의 조화의 개념이 중시되는 전일적 디자인방법이 필요하다. 따라서 본 연구의 목적은 동양의 전일적 사고에 바탕한 21세기의 새로운 디자인패러다임과 디자인방법을 제시하는데 있다. 구체적인 연구의 내용으로는 '유ㆍ불ㆍ도교 등의 동양사상에서 나타나는 전일적 개념이 파악되고(4장)', '통일성, 조화성, 변화성을 중심으로 한 전일적사고의 주요가치들이 분석되었으며(5장)', 이를 바탕으로 새로운 디자인방법의 대안으로서 '첫째-대상관찰, 둘째-대상평가, 셋째-대상개선의 3단계로 구성된 전일적인 디자인프로세스가 제시되었다(6장)' 그리고 결론으로서 각 단계의 중심적 디자인가치가 아래와 같이 규명되었다. 대상관찰 단계-대상을 바라봄에 있어 분리보다는 '전일적 관점'을 중시한다. 대상평가-가치를 판단함에 있어 차별과 대립보다는 '화합과 조화를 중시' 한다. 대상개선-창조의 개념은 변증법적 발전(creation)보다는 '순환과 변용과정의 개선적 변화(process of transformation)'를 중시한다.

• 건축역사연구
• /
• 제18권2호
• /
• pp.65-83
• /
• 2009

This research was to analyze the direction ideas of residential Feng Shui. In ancient China residential places were been established by Xiangzhai(相宅) and Buzhai(卜宅) usages. And ancient Chinese always considered geographical features of mountains and waters for setting up their living places. Geographical features were also considered importantly ih representative residential Feng Shui books, Zhaijing(宅經) and Yangzhaisanyao(陽宅三要). In Zhaihing, 24 direction ideas are co-related with Fagui(八卦) and GanZhi(千支) theories, and they are most important residential Feng Shiui direction theories. The basic thoughts of 24 direction ideas of Zhaijing were already formed in Qin(秦) dynasty and modified in early Han(漢) dynasty. In Zhaijing, residential places were splited into Yangzhai(陽宅) and Yinzhai(陰宅) according to YinYang's Qi directions. Those were actually formed from meticulous observations on changing processes of YinYangWuXing(陰陽五行)'s Qi(氣). Constantly changed Qi of YinYangWuXing were studied by old chinese people from the observations on the sun, the moon, the five stars, the Great Bear, and ErShiBaXiu(二十八宿). The origin of Zhaijing's direction ideas is the direction system of ShiPan(式盤) in Qin and Han dynasty. On ShiPan TianGan(天干) Dizi(地支) Fagui TianDiRenGui(天地人鬼) were arranged very systematically into four and 24 directions. DongxiSizhai(東西四宅) theories of Yangzhaisanyao had edited more lately than Zhaijing(宅經), and formed according to Fagui(八卦)'s YinYang(陰陽) principles. But the basic ideas is same with Zhaihing's. It proves that residential Feng Shui theories were constantly improved and modified. And both residential Feng Shui direction ideas of Zhaijing and Yangzhaisanyao are the gentral ideas in old china. The point of that ideas is Sky's four or 24 directions are correspndence with the earth's. It came from the traditional thoughts that Heaven, Earth, and mankind are c0-related and influenced each other according to Qi's changing processes. Gather up above mentioned, the direction ideas of residential Feng Shui is a systematic thoughts of old chinese for harmonizing Tian-Di-Ren-Gui, and is their specific methods for harmonizing the nature's Qi, mankind and spirits.

• 복식
• /
• 제14권
• /
• pp.167-183
• /
• 1990

As an attempt to view Chason costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic characteristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated: form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often used. Patterns revealed two aspects : while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns draws our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterens, indicating wearer's status and warding off the evil's spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories: the beauty of nature, the beauty of personality, the aesthetics of evil's eye and the beauty of tradition. The beauty of nature, as appreciated by the Chason people through their prevailing nature, the "Pung-rew Spirit" and through their Worship of Heaven, produced aesthetic characteristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil's eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people's conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Chason people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Chason people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.

• 복식
• /
• 제32권
• /
• pp.101-116
• /
• 1997

The purpose of this study is to survey the system of the Korean Shaman's costume and its formative character and to find out the symbolic meaning of it. This study focuses on a shaman's costume in Seoul-Gut Seoul-Gut belongs to 'Gangsin-mu' Therefore a shaman's costumes in Seoul-Gut remains even today. Korean shamanistic ritual is gut. Its basic structure generally consists of 12 'Geori(a process is made up Gut)' In Gangsin-mu a shaman changes his/her spirit's costumes in each Geori so that a shaman's costumes means the spirit. The shaman's costumes of 12-Geori in Seoul-Gut has only 5 or 6 kinds be-cause shamans wear the same costume when the spirit's characters are similar with each other. Therefore shaman's costumes in Seoul-Gut are consistsof Poungsangbok pulsajang-sam cjulik Kugunbok Monduri and Wonsam There are some differences between modern shaman's costumes in Seoul-Gut and traditional costume in the basic pattern and the wearing method,. Modern shaman's costumes in Seoul-Gut has become simpler in the basic pattern and more gergeous in the color or adornment and more various in the kinds of shaman's costume than that of Yi Dynasty. This tendency in modern shaman's costumes reflects modernized folk's viewpoint in dress. which thinks highly of their individuality and function and variety in it. Korean shaman's costumes means the extintion of the earthly world and symbolizes the holy symbolizes the holy symbolizes the spirits character, Ying Yang Theory and represents shaman's wishes. The wishes are the desire of prefection and stability in this world the desire of ideal love and rebirth and the desire of lofty life in this world.