• 한국화예디자인학연구
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• 제44호
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• pp.33-51
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• 2021

본 논문은 17세기부터 18세기 초반까지의 네덜란드 꽃정물화를 대상으로 조형적 특징을 분석하였다. 그리고, 꽃정물화의 조형적인 특성이 꽃정물화 수요의 관계 안에서 변화하고 있음을 설명하였다. 네덜란드의 꽃정물화는 외국에서 수입된 희귀하고 값비싼 꽃들을 조화롭게 구성헌 그림으로 감상과 수집 취미를 동시에 충족할 할 수 있는 가치가 있었다. 본 연구에서는 가장 일반적이고, 꽃정물화의 본질을 잘 나타내는 화병에 꽂힌 꽃다발 그림을 연구 대상으로 한정하였다. 17세기 초반의 네덜란드는 유럽 최고의 경제적 중심지로 무역과 상업에 종사하는 시민계층이 사회의 주류를 이루었다. 이들은 자신의 경제적 이익과 미적 취향의 충족, 그리고 부를 과시하고자 미술작품을 구매하였다. 그중에 꽃정물화의 인기는 신대륙으로부터 들어온 희귀한 꽃들에 대한 집중된 수요와 관계있었다. 사업에 성공한 부유한 시민계층의 취향은 꽃의 정체성을 확인할 수 있는 실제와 똑같은 그림이 중요했다. 따라서 초기 꽃정물화는 희귀한 꽃들의 이상적인 모습을 완벽하게 묘사하고, 공간감을 강조하여 실제 공간 속에 놓인 꽃처럼 보이게 하는 사실감이 뛰어났다. 그러나 17세기 중반 이후 네덜란드의 경제적 성장이 둔화되고, 부유한 시민계층이 금리 생활자인 도시 귀족으로 변화하면서 꽃정물화의 수요는 주관적인 감성을 중시하는 경향으로 나아갔다. 귀족적이면서도 비대칭적이고, 극적인 키아로스쿠로의 표현이 두드러졌다. 더 나아가 18세기에는 환영주의를 포기한 평면적인 표현방식으로 장식적인 효과를 강화하는 새로운 미를 추구했다. 이러한 점에서 볼 때 현대미술의 문을 열었다고 평가되는 낭만주의는 네덜란드 시민문화의 미적 취향으로부터 시작된 것이라고 봐도 과언이 아니다.

• 기술사
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• 제34권2호
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• pp.57-61
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• 2001

There has never been a point in tine as the $20^{th}$ century where mankind has faced various Issues. During the past century, the human race has come to believe that the law of nature can be substituted by the development of science and technology. Scientists have worked on the atomic bomb and mainpulated the structure of the DNA. The $20^{th}$ century is a special landmark In human history. The various privileges that we are entitled to now are all the products of this century. The world population has Increased from 600 million In the 18u century to 900 million In the 19a century. This was larger due to the advance of science and technology during the 20u century. At this speed, it is anticipated that It will reach 30 billion by the end of the century. From a political perspective. there was turmoil. From an economic perspective, there were quantum leaps. The significant development of science and technology has enhanced the quality of human life. The $21^{st}$ century now awaits us. Things like memory cells and brain transplants may be realized and nuclear fusion may happen In the near future.

• 복식
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• 제57권10호
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• pp.60-73
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• 2007

This Study is on the excavated clothing from lady Lee' tomb in spring 2003, on Chungjoo Province. These are significant as the 18th century's real clothing, we examine the real Jegories as possible and the results shows there are two group in sizes. we regard the large Jegori is for the dead as a shroud, the small one is for daily. it shows that Jegori for the dead is about 1.3 larger than a daily one, we can see Jegori for the dead was going to be large from the 18th century, and it's needlework was not fine than daily one, but the Color and the material on should look like as daily in this time, and the motif is cloud pattern, we can see two changes in daily Jegori that one thing is to be short and narrow, the other is to be curve at the corner of collar(Gitmuri), the corner of edge(supco), the below line of sleeve(baerae) in the daily Jegori.

• 복식
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• 제50권6호
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• pp.89-107
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• 2000

Underwear has undertaken the auxiliary role of outwear also. Thus, as outwear has changed forming the characteristic mode in every period, underwear has changed endlessly, so that it may match the form and function of outwear, in accordance with the stream of period. In this study, this researcher examined hoop and petticoat which were used for widening the skirt which is female clothes with diverse names in every period. under one name which is farthingale, centering around the West and korea, from 16th century to 20th century(the first term). In addition, it examined by comparison the relevancy between to the history and change factor of underwear which was used for swelling the skirt in Korean clothes. The result to have studied on the history and change factor about the farthingale of West and Korea is as follows: This study found that the silhouette of women's clothing has a strong relationship with underwear. Also The result to compare the underskirt of the West with that of Korea is as follows : They has other character, but in 18th century, being compared the underskirt of the West with that of Korea, for the swelling of skirt, this study found that they had something in common with the underskirt of the West and Korea.

• 한국의상디자인학회지
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• 제24권2호
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• pp.97-115
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• 2022

The study aims to explore a new direction for research on buttons by understanding the functions and artistic features of buttons on Western clothing in the 18th and 19th centuries, and to use the findings to develop a textile design. In terms of the research method, the period was set in the 18th and 19th centuries, when decorative features and artistic values of buttons on Western clothing reached theirpeak, while theoretical analysis was made based on literature and previous research papers on Western clothing, websites of the Metropolitan Museum and French Museum of Decorative Arts and other website materials, as well as special exhibition materials of the National Museum of Modern and Contemporary Art. Textile designs were developed using computer programs, including Clip Studio Paint and Adobe Photoshop, by integrating the reinterpreted motif of buttons in the 18th and 19th centuries and the styles that prevailed at that time. The results are as follows. First, buttons on Western clothing had the following three functions: a practical function, a symbolic function representing the wearer's status, and a decorative function expressing individuality and beauty. Second, buttons in the 18th century were works of art made with various handicraft techniques and were an important medium that expressed the wearer's fashion sense. In addition, buttons in the 19th century were mass-produced as a result of industrialization and took a major step forward with the development of materials and dyeing. Buttons reflected themes of poetry, drama, biblical stories, music and art, lifestyle,, along with the political and social atmosphere that rapidly changed after the revolution and fashion trends. Third, the artistic features and shapes of buttons were reinterpreted to create a design motif, and the design was developed reflecting the characteristic elements of the rococo style of the 18th century and the art nouveau style of the 19th century that can conform to modern fashion, thereby rediscovering the artistic meaning and value implied in buttons. In the future, the research on creative buttons of 20th century artists is expected to be conducted from various perspectives.

• 복식
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• 제65권3호
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• pp.15-27
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• 2015

This study is the first research that examines the fashion manufacturers and merchants of the late 18th century France. Fashion specialists, (known as) Marchande de modes, started to appear in literature in the mid 18thcenturyandthe profession was officially recognized by the guild system in 1776. Rose Bertin was elected as the first representative. At the same time, there were two types of fashion specialists, tailleur and couturi${\grave{e}}$re. Tailleur had monopolized the production of the bodice and the skirt, which were the most important female dress parts. On the contrary, couturi${\grave{e}}$re only had the right to make petticoats, but they were not allowed to decorate it. In 1781, the couturi${\grave{e}}$re obtained the right to make and decorate the other parts of the dress, and this resulted in the two groups fighting over the rights to make dresses. And during this struggle, the Marchand de modes started to appear as a new occupation. Marchande de modes were privileged fashion merchants making or selling trimmings for dress and coiffure, and had authority to make capes and bonnets. Contemporary critics praised their talents for creating innovative and beautiful fashion styles, while some criticized them as women who just made luxury items. These records revealed how marchande de modes were viewed during that time.

• 동양고전연구
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• 제69호
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• pp.233-258
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• 2017

이 글은 18세기말-19세기 초 살았던 반계 이양오(李養吾1737-1811)의 "반계초고(磻溪草稿)" 권지 6에 수록된 <사씨남정기후서(謝氏南征記後敍)>를 중심으로 이양오의 <사씨남정기>의 독법에 대한 고찰을 목표로 삼았다. 우선, 이양오가 읽은 <사씨남정기>는 어떤 이본이었는지 계열을 추정해 보는 것이었다. 회장명의 명칭을 근거로 이양오는 김춘택 계열에서 변이를 보이면서도 비김춘택 계열인 고려대 나본 계열과 친연성을 갖는 <사씨남정기>를 읽었던 것으로 추정할 수 있었다. 둘째, <사씨남정기후서>의 사단의 표현 방식에 대해 고찰하였다. 셋째, 이양오는 사씨와 교씨라는 인물보다 유연수와 동청에 대해 관심을 가지고 있었는데, 이양오는 여성들의 쟁총에 대한 관심보다 남성들에 대해 관심을 갖고 있었던 것을 알 수 있었다. 이는 18세기가 지녔던 사회적 문제와 이양오가 처했던 상황과 결부하여 이해할 수 있었다. 이양오는 권선징악의 이치가 구현되는 세상을 원했고, 바로 <사씨남정기>가 사람들에게 권선징악의 도리를 일깨워주는 작품이라 평가했다. 그리고 자신의 <사씨남정기> 독법이 세상에 도움이 될 것이라는 기대를 가지고 <사씨남정기>의 가치를 드러냈다. 추상적이고 당위적인 언술이 아닌 이양오가 살았던 현실의 문제와 연관시켜 모순된 현실에 구체적으로 비판을 행하고, 이를 계도하려는 의식을 지녔음을 알 수 있었다. 요컨대, 이양오는 <사씨남정기>를 읽고 형식에 있어서 사단(史斷)이라는 형식을 취해 서술의 객관성을 갖추려 했고, 내용에 있어서는 추상적이고 당위적인 언술이 아닌 이양오가 살았던 현실의 문제와 연관지어 모순된 현실을 구체적으로 비판하고, 이를 계도하려는 의지를 가지고 <사씨남정기후서>를 작성한 것이다.

• 복식
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• 제62권6호
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• pp.218-230
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• 2012

The 25 pieces of women's jogori worn by ChangRyung Jo's family(1721~1742) that are preserved in Yeoju Museum, Gyeounggi Province, Korea were examined in this study. The aim of this study is to analyze women's jogori that were excavated from the grave of Changryung Jo's family, and to characterize women's costumes around the middle $18^{th}$ Century. The size of the jogori was divided into two groups. The garment length of the first group ranged from 31cm to 34cm and the bigger size ranged from 36.5cm to 40cm. The number of jogori in the group with the smaller size was twenty-five pieces and five pieces for the group with the bigger size. Changryung Jo's jogori was composed of two pieces of padded jogori, four pieces of quilted jogori and nineteen pieces of double layer jogori. Even though the direction of the margin located on back seemed point toward the right hand side, the gorum, the string for the tie, and the Sup, the outer gore of the jogori located on the other side of the margin had no pattern of direction. The line of jogori from the armhole gets narrower toward the edge of sleeves which could be recognized as a typical pattern of the middle $18^{th}$ Century jugori. The bigger group of jogori seemed to be worn by people other than ChangRyung Jo's relatives and used to be a gifts to aid in funerals. Major characteristics of jogori is could be categorized into the Dangko Mokpan collar jogori and Samhaejang jogori. The results of this study helps set the relative dating for the women's jogori of middle $18^{th}$ Century where not much excavations have been made.

• 복식
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• 제57권10호
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• pp.99-111
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• 2007

This paper was built by following next steps. First, based on the records of the Tongshinsa, the official diplomatic mission Joseon dispatched to Japan, the actual conditions of wearing a Danryung, a official robe, in the 18th century were researched. Then the difference of wearing state between the missions - in 1719, 1748 and 1764- was found and the reason why was analyzed. In result two distinctions were found: 1) A black Danryung was worn in 1719 at the banquets and while receiving an official letter of reply, but a red Danryung, Gongbok or Sibok on the later trips. 2) In 1764 travel records there was some confusion of the names Gongbok and Sibok, which denote the same item of robes, according to the writer. The reason why those changes and confusion were caused is analyzed as follows: 1) After the Japanese Invasion(1592) and the Manchu Invasion of Joseon(1636), a black Danryung replaced the Gongbok for a while. But after the mid-18th century, when the Gongbok was revived, that was reappeared in the official ceremonies. 2) In the mid-18th century, both Gongbok and Sibok system had been revised. But because both color system was similar, those revision became a cause of confusion between Gongbok and Sibok. For a while all ministers wore red Gongbok and Sibok, but after those revision the color of official's robe was changed by officials' rank: the higher ranking officials' Gongbok and Sibok are red, the lower ranking officials' are bluish green.

• 대기
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• 제16권4호
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• pp.343-350
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• 2006

The rainfall amount measured by Chugugi at Gongju was found in "Gaksadeungnok". Gaksadeungnok is ancient documents from governmental offices in Joseon dynasty. Rainfall data at Gongju are restored for 18 years of 19th century. In 1871, total rainfall amount is 1,338 mm. It is different by about 11% in the amount compared with Seoul Chugugi rainfall in 1871 and Daejeon modern raingauge measurement result during the 30 years (1971-2000). Annual march of monthly rainfall data at Gongju is similar with that of Seoul. Based on the results, restored rainfall at Gongju is consistent with Seoul Chugugi rainfall data. The rainfall amount restored in this study is measured by Chugugi which was installed at Gongju, in Chung-Cheong province. Furthermore, Gaksadeungnok includes rainfall amount reports by agricultural tool measurement in addition to Chugugi measurement. These facts prove a network of rain gauge in Joseon dynasty.