• 한국식생활문화학회지
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• 제24권2호
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• pp.117-125
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• 2009

The present study examined the import routes of distilled rice liquor soju and how soju developed among the royal family and the upper classes using celadon inscribed with poetry related to alcohol beverages in the 12th century, Maebyeong style vases inscribed with government office name in charge of alcohol beverages of the royal family in the 14th century during the Koryo Dynasty. Distilled rice liquor was imported from the southwestern region to Koryo by Arabian merchants through direct and indirect routes in the Yuen Dynasty during the age of King Chungsuk and King Chunghye in around the 14th century. As soju was added to existing takju and cheongju, the three major types of alcohol beverages were completed during the late Koryo Dynasty. Celadon pitcher inscribed with poetry shows the delicate sentimentalism, aristocratic prosperity, and poetic sentiment. In particular, it is valuable in that it reflects Koryo people's mind, view of nature, and attitude toward alcohol beverages, and their inner world was also described with celadon patterns. Maebyeong style vases Yangonseo, Saonseo, Deokcheongo, Euiseonggo and Saseonseo, which are real celadon antiques inscribed with government office name, were used for rice liquor preservation. In particular, Maebyeong style vase has the exact year of creation, so it is a historically important celadon in research not only on alcohol food culture but also on art history. This shows that alcohol beverages were important foods that there were controlled and stored in celadon by the government offices for the royal family's related alcohol ceremonies. Through celadon inscribed with poetry and government office name displaying Koryo people's unique imagination and cultural consciousness, we can read their mind and lifestyle based on historical and social alcohol food culture in the Koryo Dynasty.

• 한국의류산업학회지
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• 제25권5호
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• pp.560-567
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• 2023

This study aims to rediscover the industrial value of a borderless service in the hyper-connected era by producing fashion content at the forefront of the cultural industry as XR content and contributing to developing fashion content for edutech. The research method employed design aesthetic theory, while the empirical proposal utilized scientific knowledge information to build a framework for 3D convergence content. The characteristics of fashion content exhibitions that apply the neumorphism technique are as follows: The first is a virtual space that produces clothing culture by type. Africa, where dyeing and crafts are developed, selects a product-oriented exhibition type; Asia, where weaving and textiles are excellent, selects a random movement type; and Europe, where the evolution of clothing design over time is evident, selects a guided movement type to create a three-dimensional fashion edutech. The goal was to produce content. The second is creative reproducibility, which combines a new fashion design that embraces the aura of the original with a trendy sense. The realistic folk costume style of the original allowed for its implementation in the AR exhibition space using historical traditional style techniques such as weaving and textiles. The third is building organic, modular content. By designing and then saving/editing/arranging the basic VP zone for each style, learners and instructors can freely edit the content for each fashion class topic and create various presentations to ensure that it functions as non-face-to-face edutech content around the world.

• 동양고전연구
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• 제34호
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• pp.225-255
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• 2009

본고에서는 정혜(貞惠) 정효(貞孝)공주의 묘지(墓誌)에 대한 분석을 바탕으로 발해 묘지 양식의 형성 배경과 특징 그리고 후대에 끼친 영향을 살펴보았다. 발해의 묘지 양식은 다음과 같은 고고학적인 특징과 역사적인 의의를 지니고 있다. 첫째, 발해의 묘지는 규형(圭形)의 비갈(碑碣) 형태를 띠고 있는데, 규형으로 된 비(碑)는 동한(東漢) 시대에 처음 보이기 시작하였으며, 위진(魏晉) 시대에 이르러 무덤 앞에 묘비 세우는 것을 엄격하게 규제함에 따라 무덤 안에 규모가 작은 비갈 형태의 묘지가 출현하였다. 그러나 출토된 발해의 묘지 2점은 동시대의 당나라나 통일 신라의 그것과는 달리 규형의 비갈 양식을 띠고 있다. 이는 위진 남북조 시기의 비갈 양식이 고구려에 영향을 끼쳤고 다시 고구려의 비갈 양식이 고분벽화와 함께 발해의 묘지 제작 방식에 영향을 주었음을 시사하고 있다. 둘째, 인근 왕조의 영향에도 불구하고, 발해는 스스로의 독특한 묘지 양식을 발전시켜왔다. 발해의 묘지 형태는 전형적인 규형(5각형)에서 뾰족한 윗부분을 다시 반으로 나누고 가로로 윗부분을 잘라 내어 사다리꼴의 변형된 규형(6각형)으로 변화 되었는데, 이는 이전과 동시대의 주변국에서는 찾아 볼 수 없는 고유한 양식이다. 셋째, 정혜공주묘지 정면의 테두리선과 문양도 새롭게 등장하는 양식으로, 발해의 묘지에서는 미학적인 기준이 중요하게 고려되었던 듯하다. 정혜공주의 묘지는 우선 비 몸돌의 정면에 실선을 새겨 넣어 장방형의 몸체와 사다리꼴의 이수(?首) 부분으로 구분하고, 다시 사면의 가장자리에서 두 선을 긋고 그 사이에 식물의 덩굴문양을 새겼으며, 윗부분의 사다리꼴 안에는 꽃문양을 새겨 넣음으로써 한층 화려한 모습을 보인다. 넷째, 발해의 묘지 양식은 인근 지역에 성립된 후대 왕조의 묘지 양식에도 적지 않은 영향을 주었다. 발해의 영향을 받은 고려는 물론 요, 송, 금, 원 등의 묘지에서도 발해묘지 양식의 흔적을 찾아 볼 수 있다.

• 디자인학연구
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• 제13권4호
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• pp.95-103
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• 2000

빠르게 변화하는 사회 구조와 생활환경 안에서 다양해진 소비자의 욕구를 충족시키고 제품이 갖는 독특한 캐릭터를 창출하기 위해서, 현대의 디자이너들은 보다 새로운 아이디어를 지속적으로 시도해야만 하게 되었다. 지난 20세기는 기술의 획기적인 진보와 더불어 산업화로 인한 다양한 측면에서 디자인의 성장이 이루어졌고, 시대의 흐름에 따라서 그 의미와 스타일이 각기 다른 양상으로 변화되어 왔다. 과거에 유행했던 디자인과 스타일을 차용하여 현대적 의미와 개념의 디자인으로 재창조하는 레트로(Retro) 디자인이 최근의 디자인 트렌드로 확산 적용되고 각광받고 있다. 이러한 복고적 스타일의 현상은 다양한 분야에서 과거를 회상하게 하는 이미지로 나타나고 있으며 새로운 감각으로 또 다른 가치로 인정받고 있다. 제품디자인 측면에서 가장 대표격인 자동차 디자인은 지난 100여 년 간의 스타일의 변천사에 있어서 시대적 사회·문화적인 변화와 기술의 진보에 의하여, 점차 다른 형태로 나타났으며 다양한 디자인이 끊임없이 시도되어 왔다. 최근의 자동차 스타일의 흐름은 첨단과학기술의 비약적인 성장으로 인해, 그 스타일의 변화가 빠르고 다양한 형태로 나타나고 있는 반면에, 과거의 디자인을 재 도입하는 레트로 스타일이 새로운 트렌드로 관심을 끌고 있다. 자동차디자인에 있어서 복고적 스타일의 의미는 트렌드 이전의 인간의 감성을 자극하고 인간성 회복이라는 또 다른 차원에서, 과거의 문화와 자신과의 연결을 회복하는 의미에서 현대적 감각으로 재창조되어, 향후 미래 디자인 영역을 확장시킬 것으로 보이며 새로운 디자인 트렌드로 발전을 예측할 수 있다.

• 비교문화연구
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• 제27권
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• pp.59-79
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• 2012

China and Japan are geographically close and the two countries had shared the Chinese Character Culture and the thoughts of Confucianism, Buddhism and Taoism since the ancient age. They also actively exchanged culture in various areas. Some cultural exchanges had been caused by surrounding environment and culture had been introduced to other country in a natural way; while some cultural exchanges had been forcibly introduced through artificial process. It is believed that such cultural phenomenon must have had impact on the make-up cultures of the two countries and it was assumed that there must have been commons and differences in the make-up cultures of the two countries. This study explored the historical background of the Ching dynasty of China and the Edo Age in Japan, which are in the same time frame, and studied the aesthetic consciousness of the two countries at the time. Then the make-up style of ladies in the two countries had been studied to find out how their aesthetic consciousnesses had been expressed in the make-ups of the two countries. Then the commons and differences in make-up skills between the two countries had been identified. According to the study results, the main stream of aesthetics during the Ching dynasty in China can be classified into Confucianism aesthetics and Taoism aesthetics. On the other hand, the main stream of aesthetics during the Edo Age in Japan can be classified into "mitate(見立)", "ikki(いき)" and "garumi(かるみ). The skin care in the make-up culture of Ching dynasty in China was based on "rouge (?脂, yanzhi)" and "powder(粉, fen)". The Ching ladies loved the make-up style using rouge. It had been same both in the high society and common people. The eyebrow care was delicate and curved so that the feminine beauty with elegant spirit could be emphasized. The lips had been expressed to be smaller and the ladies tried to express elegance and reliability, rather than frail and tender feminine image. The skin care in the make-up culture of Edo Age in Japan focused on even applying of white powder so that the face would look soft. The eyebrow make-up was a very important part of the make-up. The shapes of eyebrow had been advanced in various styles and there had been eyebrow make-up styles such as "crescent-shaped brow (三日月), "crane style brow (鶴眉) and "Tang style brow (唐眉). The lips had been applied of thick red color, imitating the make-up skill of the ladies in the entertainment business. The lips make-up skill expressing the lips in two colors had been quite popular. Among the make-up skills during the Edo Age in Japan, the "black teeth (齒黑)" can be said as the most unique make-up style of Edo Age.

• 한국전통조경학회지
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• 제36권3호
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• pp.128-136
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• 2018

본 연구는 국가기술자격 검정인 조경기사 필기과목 중 "조경사" 문제에 대해 이의 제기된 자료를 중심으로, 출제문제에 대한 논점 유형과 경향, 요인 등을 분석하여 잘못된 학술적 내용을 바로 잡는 과정에서 발생하는 사회적 순기능을 살펴보고자 하였다. 또한 조경사 시험문제에서 출제되는 역사적 사실에 대해 검증할 수 있는 조경문화사 분야의 학문발전을 위한 대안을 찾는 것을 연구 목적에 두었으며, 주요 결과는 다음과 같다. 첫째, 문제가 제기된 조경사 과목의 진술내용을 분석한 결과 '조경 양식 및 형태의 개념 확립'과 '역사적 사실의 고증'이 조경역사학 분야의 발전을 위해 우선 정립되어야 하는 중요한 항목으로 조사되었다. 또한 조경역사 이론을 참고할 만한 고증자료의 부재를 보완하기 위한 해당 분야 전문가 그룹의 진정성을 확보하기 위한 사회적 합의를 필요로 한다. 둘째, 문제가 제기된 서술내용의 분석결과 총 5가지의 논점유형으로 구분이 가능하였으며, 미확립된 양식 및 형태의 정의에 의한 경우가 가장 많았으며(52.94%), 검증되지 않은 역사적 사실(25.13%), 불확실한 시대구분(11.77%), 사용된 용어의 구체성 결여(6.95%), 사건의 내용적 범위가 모호함(3.21%)의 순으로 나타났다. 셋째, 조경사 출제문항에 제기된 진술내용에서 비교분석하여 이론을 학습할 만한 정보가 부족할 뿐만 아니라, 참고서적간의 내용이 상이함이 문제제기의 주요 원인으로 분석되었다. 또한 조경사 문제에 제기된 논점의 특징과 사례를 살펴본 결과 사회적 현상과 관련되었으며, 문화적 요인과 정치적 요인으로 구분되었다. 넷째, 국가기술자격 검정인 조경기사의 조경사 종목에서 논점으로 인지된 내용의 해결과정에서 결정된 정보는 조경사 분야에 바로 활용이 가능하고, 논점의 유형과 특징을 파악함으로서 검증과정의 정확성을 향상시키는 긍정적인 결과로 해결되고 있었다.

• 복식문화연구
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• 제14권5호
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• pp.755-765
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• 2006

This study is on the esthetic characteristics in the haute couture work of Chanel. It first reviews the lives and the fashion philosophy of Chanel, a senior designer and Lagerfeld as representatives of the maison, from the haute couture collection since 2000. The results of the study are the following. First, reinterpreting the tradition, Chanel reproduced historical dress items or silhouette with modern sense, or she created a new modern Chanel image through her original restructuring and dismantling. Second, Chanel expressed balanced beauty of compounded eclecticism by accord between simplicity and ornamentation, which meant her design showed impartial beauty with simple silhouette, decoration with colors, accessories, and ornaments. Third, Chanel did not divide the value between men and women, and instead expressed androgyny through dismantling each gender's characteristics by borrowing or mixing. As a result, she emphasized the female image or created a new style through expressing symbolic image embracing masculinity.

• 한국주거학회논문집
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• 제21권6호
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• pp.31-42
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• 2010

Korean Folk Village was founded in 1974 as the first open-air museum in Korea. It consists of over one hundred traditional Korean houses and buildings. Most of structures in the Village were reproduced or newly constructed in traditional style. Some houses were used as craft shop and folklore performance. Preservation of vernacular architecture by the government began in the late 1960s in Korea. The development of the Village was initiated by the central government for the sake of attracting both the foreign and domestic tourists. Park Chung-hee administration focused on national culture to justify their dictatorship. The government drove a very rapid economic growth in the 1970s and Korean society was in the midst of modernization leaving many traditional landscapes behind in the memory. The Village was aimed to appeal the Korean people's nostalgia and at the same time to combine their folk into the modern nation.

• International Journal of Costume and Fashion
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• 제16권1호
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• pp.71-85
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• 2016

Since their emergence in the 1960s, music festivals have attracted young people the world over with similar tastes, attitudes and styles. Now a worldwide phenomenon, music festivals such as Glastonbury in England, Primavera Sound in Barcelona, Spain and Pentaport Rock Festival in Incheon, South Korea draw hundreds of thousands of attendees from around the world and have become a major event not only for music fans, but for trend forecasters who now chronicle what has come to be known as "festival fashion", which has several distinctive style markers. This paper provides a historical background of festival fashion, examines the phenomenon using fashion theory and discusses the controversies facing the music festival and festival fashion, in particular the role that sponsorship from major corporations currently plays as advertisers who want to get their products into the hands of influential festival attendees and allegations of cultural appropriation on the part of attendees. In conclusion, the future of music festivals and festival fashion as a category is examined.

• 한국실내디자인학회논문집
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• 제13권2호
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• pp.91-99
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• 2004

This study aims to embody material and non-material factors forming space and to explain our experience in space. Space is formed by material factors and their disposition. One space becomes a new space by such factors 'arrangement. Nevertheless, one space is never swayed by material factors and their disposition. Space is a reflection of social relations and historical process, and is also affected by its users. Space can not neutrally exist, for it compels its users to keep a specific life style. Space users have experience in space by practice. Practice enables its users to experience various relationships space makes, and as well it allows them to have creative experience in space by twisting them and inducing a new relationship.