• 복식
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• 제50권7호
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• pp.195-218
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• 2000

This study investigates the characteristics of European knitted works from a historical perspective. Specifically, this study deals with the following research topics: 1) the origin and development of knitting. 2) the characteristics of knitting industry according to the change of times, 3) the comparison of local knitting patterns and cultures. 4) 7he symbolic meaning of the designs in the knitted works and theire functions. This research is barred on the survey of the relevant literature and photographs. The results of the study are summarized as follows. 1) The introduction of knitted works was closely connected with the climatic and socio-economic conditions of the places of the origin. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. 2) In ancient times, abstract and geometric patterns have developed in Europe under the influence of Arabian knitted work. Middle Ages saw the flourishing of Arabian knitted works representing the authority of the church. In early modern times, the knitted work assumed the wealth of the royal families and the nobles. But afterward it was gradually Popularized among the middle classes. Knitting was then regarded as one of the women's major cultural activities. However, recently in the interwar periods. the knitting industry did not flourish and the knitted works came to serve merely as comfort goods by political urge. Knitted works were introduced in Korea around 1870 (the 7th or 8th year of king Kojong era) by Catholic missionaries and they started to be made by machine in 1917. 3) As for the propagation of the knitted work into Europe, there are three routes estimated. The traditional knitting patterns of local areas and their characteristics are summed up as follows : (1) England Guernseys are thick dark blue wool, whereas Jerseys are thinner and of various colors. The knitted shawls of Shetland are world-famous for their fine, lace-like texture that they can be through a wedding-ring. The knitted work of Fair Isle shows several distinctive features, such as the use of no more than two colors, patterns with diagonal lines. symmetry within the patterns, the prominent OXO patterns, and horizontal bands of patterning. The representative knitted work of Aran is Aran sweater made for fishermen to developed from guernseys of Scotland. (2) Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. (3) Baltic area : The Latvian and Lithuania stockings have very ornate patterns. Many of the Estonian knit stockings and mittens share designs. Komi was well-known for its symmetric diamond pattern. Komi patterns include colored stripes, borders of pattern and all-over designs of complex diagonals. (4) Balkan area : In Yugoslavia, the patterns of roses, leaves and flowers were used for stockings, gloves and leggings. Greek knitting resembled southern Russian knitting, which utilized light colored patterns with dark colors for a background. Turkish patterns are symmetric vertically or horizontally. 4) The traditional knitting patterns net only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns also represented Power or authenticity Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns.

• 한국의상디자인학회지
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• 제4권2호
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• 감성과학
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• 제21권1호
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• pp.99-114
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• 2018

색동은 고대부터 사용해 온 우리 고유 원단이며 다양한 색사를 경사로 사용하여 동일간격 세로 줄무늬가 반복적으로 나타나도록 평직, 수자직으로 직조한 것이다. 본 연구는 고대의 색동이 어떻게 발생하였고 그 의미가 무엇인지에 대해 고찰하였다. 연구방법으로는 선행논문 및 단행본, 학술지 등의 문헌자료, 박물관 자료, 신문과 사진 자료, 인터넷 검색 등을 이용하였으며 도자기, 금속공예, 무용 등 복합예술의 다양한 분야에서 나타난 고대문화의 연결고리를 고찰하였다. 또 조선족 자료와 일본의 아스카 문화 및 다카마스총의 고분벽화를 통해서 고구려, 백제의 흔적을 살펴 보았다. 색동은 즐거움, 기쁨, 경사, 하늘의 축복, 신령함, 바람, 풍작 등을 의미하며 우리 선조의 낙천적이고 긍정적인 정서를 표현하는데 구체적으로 살펴보면 첫째, 색동으로 나라와 가정의 경사와 즐거움, 기쁨의 감정을 표현하였으며 좋은 일이 반복되고 지속되길 기원하는 마음을 나타내었다. 둘째, 단아한 아름다움을 통해 질서, 평등, 조화를 상징한다. 셋째, 색동은 생명, 힘이며 신성한 존재로서 숭상된 하늘에 속한 신비스러운 새를 나타낸다. 넷째, 부와 풍요로서 비, 바람 또는 밭이랑을 상징한다. 조선족과 일본에 남아 있는 우리 한복과 색동의 경쾌하고 선명한 색사용을 통해 우리 선조의 자긍심과 정체성을 엿볼 수 있었다.

• 보존과학회지
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• 제31권1호
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• pp.21-27
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• 2015

국보 제193호 봉수형유리병은 5세기에 조성된 것으로 알려진 황남대총 남분의 수많은 부장품들 사이에 독특한 형태의 녹색 유리 편들로 심하게 파손된 채 출토되었다. 1984년 국립중앙박물관 보존과학실에서 본격적으로 보존처리를 실시하여 박물관에서 오랜 기간 동안 전시되어 왔지만, 30년이라는 세월로 인해 기존에 사용한 접착제는 심하게 열화가 되어 매우 불안전한 상태가 되었으며 특히 복원제로 사용한 에폭시 수지가 빛과 열에 의해 심하게 황변이 되어 더 이상 유물의 안정한 전시와 효과적인 전시가 이루어질 수 없어 이번에 재 보존처리를 하게 되었다. 이번 연구에서는 그동안 연구가 전혀 진행되지 않았던 세 조각으로 파손된 봉수형유리병 손잡이 부분을 금사로 정성스럽게 감아 수리에 사용한 3 조각의 금사를 중점적으로 살펴보았다. 금사에 대한 분석방법으로는 SEM-EDS와 Stereo Microscope를 사용하여 비파괴적으로 분석하였다. 먼저, SEM-EDS 분석 결과, Au 91.9wt%-Au 92.8wt% 와 Ag 5.9wt.%-Ag 6.5wt.%으로 Au 과 Ag의 합금인 금제로 밝혀졌다. 다음으로 광학현미경으로 금사의 제작기법을 관찰한 결과, 일반적으로 금사는 덩이 금을 두드려서 만들거나 구멍에 밀어 넣어 뽑아내는 인발 가공 또는 금판을 꼬아서 제작하는 방법으로 제작하는데 봉수형유리병 손잡이에서 분리한 금사는 표면에서 꼬임 흔적은 전혀 나타나지 않고 단지 길이 방향으로 미세한 줄무늬가 관찰되고 단면이 모두 채워진 상태인 것으로 보아 인발 가공하여 만든 것을 사용하여 보수한 것으로 생각된다. 이러한 분석 결과는 그동안 금사에 대한 연구가 대부분 금제품 유물의 구성품으로만 인식된 채 별도의 유물로 주목받지 못해 금사에 대한 제작기법에 대한 체계적인 연구가 매우 미흡한 편이기 때문으로 장차 금사에 대한 추가적인 연구가 진행된다면 이번 봉수형유리병 손잡이 고정에 사용된 금사 분석 결과가 기존 신라시대 금제 유물의 금사와의 상호 연관성을 밝혀내는데 좋은 자료가 될 것으로 생각된다.