• 한국가구학회지
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• 제18권3호
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• pp.195-204
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• 2007

The house method of today is the house form which is composed inside the space where it is unified in social change. Also the life method from left was exchanged with stand-up meal and it became simplification and also the form of So-ban changed in the life method which is controlled. If the ship construction trillion So-ban was the furniture which is used with putting first and today the So-ban with variation of form or the material changed with entirely different role. The So-ban of today was used in the pattern element which is form freely to appear, dual anger there is a possibility of knowing the fact that it is turning out with the So-ban which expresses a geometric pattern with the present-day sense. Today of the So-ban it will pattern it will rightly use Beak-je, the feature person who is the possibility this pattern showing It is soft with the sharp, soft beauty of curved line and rectilinear which is refined, omission and emphasizing which are bold today It applied in So-ban design.

• 디자인학연구
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• 제13권2호
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• pp.55-63
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• 2000

95년 통계청(한국은행, KDI통계자료)의 자료를 보면, 우리나라 귀금속 장신구시장이 약 2조 8000억 원 규모로 보고되었는데, 이는 86년부터 95년까지 10년 간 년 평균 15.3%의 성장세를 나타내고 있으며 G.N.P 대비 0.78% 의 점유율을 보이고 있다. 이러한 귀금속 장신구 산업은 높은 성장 가능성을 가지고 있음에도 불구하고 산업의 구조적인 취약성으로 불법 거래의 만연, 보석의 품질 등급의 왜곡(다이아몬드의 경우 감정 기관에 따른 가격 차이, 금의 경우 금의 품위 조작 등)등의 문제를 낳고 있으며, 유통 업체의 영세성 등으로 우리나라 귀금속 장신구 산업 시장은 미국이나 일본 선진국에 비해 아직은 초기 단계라고 할 수 있다. 따라서 고부가가치 사업의 하나인 귀금속 장신구 산업을 발전시키기 위해서는 귀금속 장신구 업체의 유통 구조개선과 제품의 제작기법 및 새로운 디자인의 개발 등이 요구되며, 또한 귀금속 장신구 산업의 중요성과 국가 경제 기여도 및 업계의 장기 발전 전망에 대한 정확한 인식이 업계 전반에 확산되게 함으로서 귀금속 장신구 산업의 발전을 이루어 나갈 수 있을 것으로 확신한다.

• 디자인학연구
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• 제12권2호
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• pp.65-73
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• 1999

이태리는 이미 오래 전부터 귀금속에 대한 관심이 높아서 귀금속 장신구가 활성화되어 있었으며 오랜 역사와 문화를 바탕으로 한 그들의 뛰어난 예술적 감각과 귀금속 세공기술 등의 전통이 끊이지 않고 계승되어 현재의 첨단 과학기술과 조화를 이루어 더욱 발전을 하고 있다. 전 세계 귀금속 장신구의 5개 중 1개는 이태리 제품이 차지하고 있을 정도로 이태리는 어느 나라보다도 많은 금, 은, 보석장신구 등을 생산하며 연간 70억 달러 이상의 매출을 올리고 있다. 이러한 성장의 이면에는 여러 가지 요인들이 복합적으로 작용한 결과로, 단절되지 않고 대대로 내져오는 그들의 장인정신을 바탕으로 한 예술적인 수공예 위주의 일품적인 장신구와 세련되고 감각적인 디자인이 조화를 이룬 대량 생산적인 장신구를 함께 병행 발전시킨 결과이다. 최근에 들어서, 이태리 귀금속 회사들은 향상된 경영기법과 마케팅에 대한 국제적인 접근방법 등을 적극적으로 도입하고 있으며 디자이너들과 상호 밀접한 관계를 이루면서 새로운 기술 및 디자인 개발에 노력하고 있다.

• 헤리티지:역사와 과학
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• 제53권2호
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• pp.242-253
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• 2020

나주 복암리 정촌 고분 1호 석실에서 화살통 장식 6점이 출토되었다. 유기물로 만들어진 화살통은 매장 상태에서 부식되어 없어지고 금속으로 만들어진 화살통 장식물만 남게 된다. 정촌 고분 화살통 장식은 형태적으로 2점씩 쌍을 이루며, 출토 위치에 따라 화살통 2점을 장식한 것으로 추정된다. 화살통 장식은 화살의 방입부(方立部)를 꾸며주는 대륜상금구와 방입부와 허리띠를 연결하는 배판(背板)을 장식하는 판상금구로 나누어진다. 1호 석실 목관2에서 출토된 화살통 장식은 대륜상금구만 확인되었으며 1호 석실 동남쪽에서 확인된 화살통 장식은 허리띠에 사용된 추정 대구, 판상금구, 대륜상금구가 확인되었다. 화살통 장식의 분석 결과, 철제 판에 금동 판을 접합한 철지금동장식제(鐵地金銅裝飾製)이며 표면을 정(釘)으로 점을 찍어 선과 문양을 만든 것을 알 수 있다. 성분 분석 결과(XRF), 금동 표면은 24~40wt% Au, 50~93wt% Cu가 검출되어 금도금 표면에 청동 부식물이 형성되었음을 확인하였다. 금도금 층의 SEM-EDS 분석 결과 광택을 내기 위한 작업선이 확인되었다. 또한 7~9wt% Hg가 검출되고 도금 층에 아말감 덩어리가 확인되어 아말감 도금한 것을 알 수 있었다. CT와 FT-IR 분석 결과 대륜상금구는 철제 판 아래 견직물이 2중으로 겹쳐 있으며 그 아래 옻칠편도 붙어 있었다. 이는 대륜상금구를 방입부에 부착할 때 직물을 덧대어 밀착력과 장식성을 높였으며, 옻칠 된 방입부 표면이 함께 떨어진 것으로 추정된다. 반면, 판상금구는 철제 판 아래 유기물이 두껍게 붙어 있다. 재질을 확정하기 어려우나 배판의 잔재로 보인다. 이러한 나주 정촌 고분 출토 화살통 장식의 특징은 4세기 후반~5세기 후반의 백제, 신라, 가야 문화권과 유사한 형식을 보여주며 당시 수준 높은 고대 금속 공예 제작 기술을 확인할 수 있었다.

• 한국의상디자인학회지
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• 제9권3호
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• pp.1-17
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• 2007

This study is a review of Ipsik, the decorative ornaments found on traditional Korean horsehair hats, known as Ipja, which were worn by men in the late Joseon Dynasty. In a broad sense, Ipsik are regarded as men's accessories. Therefore, although this study is limited to Ipja, it is significant in the sense that it delves into one facet of men's accessories in detail. Because the appearance of the horsehair hats was rather mundane, Ipsik and Ibyeong were added as ornaments. During the Joseon period, various types of hat ornaments existed, named Maeksu, Hosu, Gongjagu, Sangmo, Jingdori, Ijeon, Guyeongja and Ibyeong. A person's social ranking and class could be discerned by the materials used in the Ipsik he wore. Jeongja, a decorative accessory used to attach to an official's hat, was institutionalized in the sixteenth year of King Gongmin's reign(1367), during the Goryeo Dynasty, prior to the founding of China's Ming Dynasty in 1368, which indicates that Jeongja were influenced by the Yuan Dynasty. A record in Lao Chi'ta (a textbook of spoken Chinese estimated circa 1346) confirms this fact. Based on a review of literature, we learn that just as with Ongno, Jeongja were imported for use on Jeonrip, a soldier's hat. During the Ching Dynasty, Jeongja were further subdivided and more exquisitely designed. On the other hand, in the Joseon Dynasty, a rule was handed down mandating that a royal prince use gold for his jeongja, officials at third rank or above use silver, and governors, commanders in chief, and officials with the Office of Inspector General and Office of Censor General use jade. Inspectors were permitted to use crystal. Jeongja made of jade were used until the late Joseon Dynasty.

• 한국진공학회지
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• 제17권5호
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• pp.466-472
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• 2008

퍼플골드는 78wt%Au-22wt%Al로 이루어진 합금으로 화학식은 $AuAl_2$로 표현된다. 최근 화이트골드, 핑크골드와 더불어 특유의 적자색 (보라색)이 나는 유색골드의 하나로 장신구나 의장용 소재로 활용되고 있다. 퍼플골드는 Au와 Al의 중간상으로 연성과 주조성이 나쁜 특성이 있어 단조와 주조작업을 통하여 원하는 형상의 퍼플골드를 얻기 힘든 단점이 있다. 따라서 절단과 연마공정만으로 최종제품을 제작하거나 박막으로 증착하여 의장용 소재로 활용하는 것이 가능하다. 본 연구는 순수한 Au와 Al을 소오스로 각각 200nm$SiO_2$/Si기판에 78:22의 무게비로 증착시킨 후 열처리를 시행한 경우와, $AuAl_2$를 용융을 통하여 벌크형으로 얻은 후 이를 소오스로 사용하여 유리기판에 기판온도를 상온으로 유지하면서 진공증착을 통하여 표면처리를 한 경우로 나누어 실험을 진행하였다. 완성된 시편은 육안검사, 미세구조분석, 면저항분석, 색차분석, XRD 분석을 통하여 증착된 퍼플골드의 색과 두께를 위주로 한 물성을 측정하였다. 12.5nmAu/40nmAl/200nm$SiO_2$/Si 구조로 제작하고 열처리 한 경우 과도한 표면응집현상이 일어나면서 퍼플골드가 형성되지 않았다. $AuAl_2$ 소오스로부터 직접 열증착한 경우는 벌크상태와 동일한 적자색을 보였으며 퍼플골드의 의장용으로서 심미적 기능이 가능한 것으로 판단되었다.

• 복식
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• 제61권7호
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• pp.135-151
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• 2011

The purpose of this study is to research the costume styles during the Silla(新羅), and Paekje dynasty[百濟] in 'Seodong tale'. In those days, costume form, color, pattern, and ornaments played an important role in representing the differences in social status. The Methodology of this study is reviewing and researching the symbolic meaning and classifying the types of the style of the Costume in 'Seodong tale' through the antique records and tombs bequests and expressing the clothing of the appearance people in the picture. This study is about the costume styles representing the differences in social status during the Silla and Baekje dynasty in 'Seodong tale'. Sedong wore 'Heug Geon(黑巾)' and 'Yu', 'Ko(袴)'. The king of Silla, Jinpyung wore Tree and Antler-typed Diadem and 'Po(袍)' with 'GwaDae(銙帶)' and Earrings, Necklaces, Rings. The servant of Baekje wore 'Eunmhwakwansik[silver crown]' and 'Jangyu' bound the silver belt and 'Ko'. Silla Princess of the court, Seonhwa wore Feathered Trim with Conical hat, and 'Yu' bound the belt and 'SangdongChima' and Earrings, Necklaces, Bracelets, Rings. Sedong's mother's hair style was 'Eonjeunmeori' and wore 'Yu' and 'Ko'. The queen of Baeje, Seonhwa wore 'Keumhwasik[Gold crown]', and 'Po' bound the belt and Earrings, Necklaces, Bracelets.

• 복식
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• 제50권7호
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• pp.129-139
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• 2000

The Chonmachong (Tumulus No. 155 in Whangnam-dong, Kyungju, Korea), which was unearthed in 1973, is an ancient tomb built in the Shilla Era between the 5th∼6th centuries by the method of Juk-suk-mok-gwak. With the excavation of this tomb more than 11,500 articles of luxurious and splendid relics including gold and silver ornaments, weaponry and horse gears were obtained. Among the excavated articles, the saddle flap with a drawing of flying horse on it is the first relic of its kind from the Shilla Era. and 'Chonma'(a flying horse), the name of the tomb. was named after this drawing. The saddle flap is highly valuable in that it provides the idea of how goad the people of Shilla were at drawing. Although a lot of researches have been released about the relics from the Chonmachong, this study is to focus on the fabrics from the excavation, all of which are in the Kyongiu Museum's collection. The findings of this study are as follows : 1 The subject of this study is mainly on the fabrics used in horse gears, the pieces of cloth that were used to spread on a saddle or to underlay beneath a saddle. As the Shilla Dynasty tried to restrict excessive ornamentation on horses and it is assumed that the fabrics used are different. according to the social status. 2. The subject articles are four plain fabrics, three fabrics of combined -construction and one braid, the warp-faced compound woven silks of combined-construction was found for the first tinge in Korea, and is the typical quality sick with patterns woven with dyed threads in different colors. 3. It is ascertained by the Chonmachong excavation that polychrome woven silk was used not only for the clothes of the upper classes but also for the ornaments of their horses in the Era of the Three Kingdoms.

• 복식
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• 제63권3호
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• pp.1-16
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• 2013

Xiognu people were the first of the Central-Asian nomads to establish a nation in 209 B.C. They always moved around looking for places to breed their animals and fertile grounds, so they wore clothes made of fur and leather and covered their tents with felt from the livestock. This research studies on the literatures, costumes and the achievement of archaeological excavation. Furthermore, to investigate on costumes excavated of Xiongnu, we visited the Mongolian National Museum and the Hermitage Museum. A corn-hat made of felt, a felt hat with ear flaps and a golden crown with a bird on the top were unearthed from a tomb of Xiongnu in Inner mongolia. Women usually wore pigtails, and men wore pigtails or ponytails but they cut their hair short when holding a funeral. Many pigtails discovered in Noyon uul tombs can be considered as their funeral customs. The Xiongnu wore a round or v-neck caftan attached straight sleeves reaching knees in the left folded style, and because they always rode horses, having the length of the caftan not go past their buttocks would have made it more convenient for them. During the period of Western Han, Ho refered to Xiongnu and it became a common name for northern races. They used leather belts and an animal-designed buckle was found. Women commonly rouged their cheeks for a vivid and cute look, and many ornaments were excavated including bracelets, rings and decorations made of gold, silver, copper and jade, among which there were hair ornaments used to identify one's class. A horse pattern with wings and a horn of Golmod T20 was substitution for the Schythian use of deer. Patterns or shape of unearthed articles present in the Xiongnu culture in Noyon uul had a close relationship with Altaic, Greek and Persian cultures. The Xiongnu clothing was made of animals' skin and fur, woolen textiles and felt. It was folded to the left for upper garments, and the pants were adjusted using a belt and shoes were made of leather, which was very suitable for protection against the cold and horse riding. Mobility played a significant role in their clothing.

• 복식
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• 제59권3호
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• pp.96-108
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• 2009

This study is made on the royal lady's dress In late Joseon dynasty according to the King Heon-jong and Lady Kyung-bin's Wedding Diary in the year of Jung-mi(1847) and summarised as follows: Girls' full dress was a set of a red skirt, a violet undo. jacket, and a light yellow jacket and a green Gyeon-ma-gi(a kind of top jacket) with he. hair Saeng-meo-ri hanging Do-tu-rak-daeng-gi(a kind of hair ribbon). At the big ceremony, girls wore a green Dang-ui instead of Gyeon-ma-gi. A girl picked up as a royal concubine wore a green Won-sam, which was decorated with gilt letters meaning longevity, patched emblems of gilt letter meaning longevity on the breast and on the back, belted with Bong-dae(a red sash with gilt phoenexes), like a princess's full dress. At the Kyung-bin's installation of Crown Princess and her first greeting ceremony with royal elders, she wore a green Won-sam as a formal dress, which had an embroidered emblem of phoenix, the belt with crystal ornaments, Pae-ok(佩玉), Kyu(圭) of blue jade, Shou(綬) with an phoenix. At a Dong-wrae-yun(drinking ceremony after bride and bridegroom's bowing to each other), she wore the embroidered red Jang-sam as a formal dress. Kyung-bin wore a purple Won-sam with Bong-dae as a full dress for a royal feast. According to the occasions, the same dress was differentiated with ornaments and rotors. Ji-keum-bal was an attire for ordinary ceremony. The attire was equipped with a woven gold green Dang-ui with an emblem of phoenix, a blue gilt underskirt and a red gilt overskirt. No-ui was worn as outdoor clothes. Jang-sam was worn by various classes, so it was differentiated with materials and names according to her class.