The Aesthetics of Indian Unstitched Costumes Affected by Hinduism

힌두 사상에 영향을 받은 인도 무봉의(無縫衣)의 조형미

  • Seo, Bong-Ha (Dept. of Stylist, Yong-in Songdam College) ;
  • Kim, Min-Ja (Dept. of Clothing & Textiles, Seoul National University)
  • 서봉하 (용인송담대학 스타일리스트과) ;
  • 김민자 (서울대학교 의류학과)
  • Published : 2007.12.31

Abstract

In the cultural realm of Hinduism centering around India, traditional costumes such as Sari, and Dhoti are worn up to date under the influence of religious faith, tradition, and fundamentalism. The purpose of this study is to clarify the religious meaning of unstitched traditional Indian costume and inquire into the figurative beauty of it. This study revolved around India, and the aesthetic feature affected by hinduism was examined based on the literature references and the figurative feature and aesthetic value of unstitched costume were analyzed. The most important feature of Indian costume is the unstitched costume without joining pieces of cloth by using a needle and thread, symbolizing the purity based on the cosmology of Hindu. In the unstitched costume of India, natural drapery that is the large cloth, slipped or tied on body, wrapping it affluently, is emphasized. Unstitched costume of India, based on cosmology of Hindu and the concept of purity, is still broadly worn by people under the influence of fundamentalism and conservative atmosphere. Religious idea is expressed and a beauty of concealment, emphasizing the chastity, is shown in the unstitched costume of India, while a beauty of nature is distinctively revealed in the non-structural and asymmetric drapery costume due to the unique wearing style. In addition, 'A beauty of symbolism' appears in the wearing method, color, the part of wearing, and ornament. Religion has affected overall culture that is inclusive art, aesthetics, and social structure and has contributed to the formulation of costume style. Unstitched costume of India is the unique tradition of India and identity, based on the religious idea.

Keywords

References

  1. Cassirer, E. (1970). An Essay on Man. New York: Bantam Books, p. 27
  2. Eliade, M.. (1998). 이미지와 상징: 주술적-종교적 상징체계에 관한 시론, 이재실(역). 서울: 까치글방, p. 15
  3. 권영실, 조우현 (1997). 인도 종교복식의 상정성에 관한 연구. 한국의류학회지, 21(4)
  4. 이정임 (1993). Hindu사상과 Castes 제도를 통해 살펴 본 인도복식의 의미에 관한 연구. 기전여전 논문집, 13
  5. 노길명, 정태환, 김응렬, 서용석, 현택수 (1998). 문화인류학의 이해, 서울: 일신사, p. 237
  6. 권영실, 조우현 (1997). 인도 종교복식의 상정성에 관한 연구. 한국의류학회지, 21 (4). pp. 678-679
  7. Barnard, M. (1996). The Function of Fashion and Clothing. Fashion as Communication. Oxford: Resources, p. 67
  8. Nylen, A. M. (1961). Kleidung in the Schwedishe Voikskunde. Stockholm: 1CA Bokforlag Vasteras, p. 364
  9. Fallding, H. (1974). The Sociology of Religion. New York: McGraw-Hill, pp. 167-169
  10. Britannica Book of the Year (1998). p. 314
  11. Anderson, N. (1985) 세계의 종교들. 민태운(역). 서 울: 생명의 말씀사, p. 247
  12. 오강남 (2003). 세계 종교 둘러보기, 서울: 현암사,.pp. 36-37
  13. Zimmer, H. R., & Campbell, J. (1969). Philosophies of India. Princeton: Princeton University Press
  14. Weber, M. (1986). 힌두교와 불교. 홍윤기(역). 서울: 한국신학연구소
  15. Collier's Encyclopedia, 12. (1985). New York: Mac millan Educational Company, pp. 127-133
  16. 서광선 (1975). 종교와 인간. 이화여자대학교 출판부. pp. 102-104
  17. 류경희 (1998). 인도문화의 이중적 여성상과 힌두 여신의 상징체계. 종교와 문화, 4, 서울대학교 종교문제 연구소, p. 135
  18. Anderson, N. ,(1985) 세계의 종교들. 민태운(역). 서 울: 생명의 말씀사, pp. 299-301
  19. Tillieh, p. (1957), Dynamics of Faith. New York: Harper & Low, p. 41
  20. Hegel, G.W.F. (1996), 헤겔 미학 II: 동앙예술, 서양 예술의 대립과 예술의 종말, 두행숙(역). 서울: 나남 출판, pp. 71-72
  21. Hegel, G.W.F. (1996), 헤겔 미학 II: 동앙예술, 서양 예술의 대립과 예술의 종말, 두행숙(역). 서울: 나남 출판, p. 83
  22. 서봉하 (2005). 인도 바라나시에서 촬영
  23. Bhandari, V. (2004). Costume. Textiles and Jewellery of India: Traditions in Rajasthan. New Delhi: Prakash Books, p. 105
  24. Bhandari, V. (2004). Costume. Textiles and Jewellery of India: Traditions in Rajasthan. New Delhi: Prakash Books, p. 104
  25. 이은봉 (1992). 종교와 상징, 서울: (주)세계일보. ,pp. 187 -189
  26. 권영실, 조우현 (1997). 인도 종교복식의 상정성에 관한 연구. 한국의류학회지, p. 679
  27. Dar, S.N. (1982). Costumes of India and Pakistan, Bombay: D.B. Taraporevala Sons & Co. Private Ltd., p. 89
  28. 조승연 (2005). 인도에서 만나는 종교와 문화, 서울: 민속원. pp. 204-205
  29. Gillow, J., & Barnard, N. (1991) Traditional Indian Textiles. London: Thames & Hudson, p. 10
  30. Gillow, J., & Barnard, N. (1991) Traditional Indian Textiles. London: Thames & Hudson, p. 11
  31. Julia Leslie (1992). The Significance of Dress for the Orthodox Hindu Woman. R. Barnes & J. B. Eicher (eds.), Dress and Gender Making and Meaning in Cultural Context. Oxford: Berg Publishers
  32. 조승연 (2005). 인도에서 만나는 종교와 문화, 서울: 민속원. p. 206
  33. Gillow, J., & Barnard, N. (1991) Traditional Indian Textiles. London: Thames & Hudson, p. 15
  34. Anneliese, P.K. (1994). 힌두교의 그림언어, 전재성(역), 서울: 동문사, p. 78
  35. Bhandari, V. (2004). Costume. Textiles and Jewellery of India: Traditions in Rajasthan. New Delhi: Prakash Books, p. 4
  36. Berenice Geoffroy-Schneiter (2001). Ethnic Style: History and Fashion. New York: Assouline, p. 46
  37. Vandana Bhandari, Sudha Dhingra (1998). Textiles and Craft of India. New Delhi: Prakash Book Depot, p. 32
  38. Usha Chowdhary, Lois Dickey (1988). Fashion Opinion Leadership and Media Exposure among College Women in India. Home Economics Research Journal, 16(3), pp. 183-194 https://doi.org/10.1177/1077727X8801600303
  39. O.P. Joshi (1992). Continuity and Change in Hindu Women's Dress, R. Barnes & J.B. Eicher (eds.), Dress and Gender Making and Meaning in Cultural Context. Oxford: Berg Publishers
  40. Bhandari, V. (2004). Costume. Textiles and Jewellery of India: Traditions in Rajasthan. New Delhi: Prakash Books, p. 90
  41. Bhandari, V. (2004). Costume. Textiles and Jewellery of India: Traditions in Rajasthan. New Delhi: Prakash Books, p. 192
  42. 김주희, 김우조, 류경희 (2005). 인도여성-신화와 현실, 서울: 한국외국어대출판부, pp. 216-220