• 복식
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• 제36권
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• pp.219-238
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• 1998

For the purpose of this Study, the situation of Korean costume properties in the collection of overseas museums was investigated through correspondence, interviews with their curators and persons in charge and survey. As results were made about the situation of museum science (conservation) and practical utilization of costume properties. So, the study result were drawn as follows : Krean costume properties unexplaind of 'Korean cultural Properties' could be found in the Metropolitan Museum of Art of New York(135 pieces), the Brooklyn Museum of New York(20 pieces), the Newark Museum of New Jersey(15 pieces), and the Victoria Albert Museum of London(100 pieces). Korean costume properties in the collection of over-seas museums mostly fall under the rang of period between the 19th century and the early 20th century and are classified into everyday clothing, wedding costume and armors for the most part. In 1900s, museum in several countries began to collected Korean cultural properties through foreign missionaries or diplomats as well as merchants or travellers in who bought Korean objects. Recently, scholars, traditional Korean costume designerss and diplomatic and consular offices in overseas have donated our Korean costume to many foreign museums. Korean costume properties were largely on display in the dependent display of folklore museums or in a part of exhibition gallery for Asian culture and there were the separate exhibition rooms in museums in the United Kingdom, Germany, Denmark, Austria, Japan and the United States America. But the size and level of display room for Korean cultural properties is one third as large as that for chinese or Japanese cultual properties. It was found in this study that the traditional Korean costume in the collection of overseas museums was largely recorded only as general items rather than given their proper names. The typical example of misnaming included bridal's Kimono for Wonsam(원삼) in the Metropolitan Museum of Art, Yeonroksaek-bumunsajeokori for Dangeui(당의) and Jissan-gryongwonmunsadurumagi for Kongdali(동달이) in the Okura collection of the Tokyo National Museum, and so on. And the Victoria Albert Museum modified the way of wearing Daenim(대님) and the National Museum of Ethnology in Osaka seemed to misplace the ornament of Keanggi(댕기) on Mubok(무복) and Josunjuk(조선족: Chinese-Korean) Museum also misplace hansam(한삼). On the one hand, the Newark museum of New Jersey mixed Chinese armor with the Korean one and the Photohraph of King Kojong(고종) with Chinese one. It is corrected to publish and disseminate the book concering Korean costume in order to inform foreign museums of thed proper names and wearing method of our traditional costumed. The repair of costume before cleaning in the process of conservation treatment can prevent damage likely to occur as the properties of fiber itself are weakened in liquid. It is recommended that western 8-figure stitch and tacking stitch is added to Korean traditional stitching method. Museums in the U.S.A and the U.K are concerned about the aftermath of cleaning it-self, specially conservation treatment may exert on remains and predominantly use the vacuuming method to remove dust or bits of straw before the exhibition beings. But in case of Korea, the dry cleaning and wet cleaning method are used according to the nature and state of a sample costume. This comprehensive cleaning method is gradually developing scientifically but it is expected that those concerned will make a chemical analysis of the solvent to be used and also the more precise test of costume properties will be conducted before cleaning them. A partial study was made here because the scope of study was too broad and vast. It is expected that more studies will be conducted concerning our costume culture under the long-term plan and active support at the government level.

• 한국식품조리과학회지
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• 제15권2호
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• pp.146-157
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• 1999

본 연구는 뉴욕 뉴저지 주에 살고 있는 재미한인 주부들을 대상으로 하여 우리 나라 의례음식과 상차림에 대한 의식과 실행을 알아보아 미국생활에서의 한국전통음식문화를 얼마만큼 보전 계승하고 있는지 조사하였다. 1. 의례음식과 상차림의 중요성은 응답자의 57.9%가 중요하다고 생각했고, 의례음식과 상차림을 알게 된 경위는 49.8% 친정어머니, 24.7%가 시어머니한테 배웠다고 응답하였다. 2. 의례음식과 명절차례상차림에 대한 견해는 응답자의 78%가 간소화되어야 한다고 생각했으며 의례음식이 계승발전하기 위하여 중점을 두어야 할 교육은 50.6% 가정교육, 27.3% 대중홍보교육으로 가정교육을 가장 강조하였다 3. 재미 한인 주부들이 가장 잘 알고 있는 상차림은 생일상차림(66.8%), 돌상차림 (43.5%), 백일상차림 (42.4%), 설날과 추석의 차례상차림(52.8%)으로 나타났고, 장국상 차림(21.0%), 주안상차림(23.6%), 혼례시 폐백상차림 (21.4%), 제사상차림(29.2%)으로 나타났으며, 반상차림, 죽상차림, 교자상차림, 회갑상차림은 잘 아는 정도가 17% 미만이었다. 4. 자녀의 돌상차림에 관한 견해는 응답자의 60%가 평소보다 음식을 더 준비하여 가족과 함께 축하해 주었고, 38%는 전통적인 돌잡이 상을 차려 축하하였다. 자녀의 생일상차림은 응답자의 40%는 친구를 집으로 초대하여 생일 잔치해 주고, 37%는 간단하게 집에서 미역국 끓여먹고 선물해 준다고 하였다. 5. 어른들의 생신상차림은 49%가 친척 친지를 초대하여 식사를 대접하여 축하해 드리고, 38%는 집에서 가족끼리 축하해 드린다고 응답했으며, 부모님의 회갑상차림은 41.3%가 친척 친지와 연회장에서 축하해 드리고, 26.6%가 전통적인 큰상차림으로 친척 친지와 함께 가정에서 축하해 드린다하였다. 6. 결혼식의 폐백음식은 50.9%가 폐백을 준비해주는 집에 맡긴다고 하였고, 30.3%는 일부는 집에서 만들고 일부는 맡긴다고 했으며, 14%만이 전통적인 폐백음식을 집에서 준비한다고 하였다. 결혼식 때의 손님접대 음식 준비에 관한 견해는 66.4%는 연회장에서 대접한다, 29.9%는 집에서 음식을 준비하고 연회장에서 대접한다고 조사된 것으로 보아 결혼음식 준비방식이 상업화되고 있음을 알 수 있었다. 7 제사상차림에 관한 견해는 40.2%가 전통적인 상차림으로 제사를 지내고 32.5%가 교회 식으로 지내며, 설날과 추석의 차례상차림에 관한 견해는 41.7%는 전통적인 상차림을 하고 31.7%는 조상 님들이 평소에 좋아하시던 음식을 간단하게 마련하여 지낸다고 했으며, 24.7%는 교회 식으로 지낸다고 응답한 것으로 보아 이들 음식은 집에서 전통적으로 차리는 주부가 많았음을 알 수 있었다. 재미한인 주부들의 우리 나라 의례음식과 상차림에 대한 중요성에 대한 인식은 비교적 높은 편이나 알고 있으며 행하는 정도는 몇몇 상차림을 제외하고는 많은 상차림에 대하여 낮았음을 볼 수 있었다. 집안의 여러 가지 풍속과 생활습관, 음식솜씨들을 친정어머니와 시어머니를 통하여 물려받는다는 것을 알 수 있었는데 이러한 맥락에서 다양한 문화와 함께 살고 있는 재미 2세들의 한국 전통음식문화의 계승은 어려움이 많으리라 사료된다. 주부 자신들의 전통음식에 대한 진정한 이해와 함께 우리음식의 뿌리를 내리고 외국음식과 조화를 이루어 나가도록 하는 적극적인 노력이 필요할 것이다. 그러므로 또한 재미한인 사회에서의 한국전통음식에 대한 홍보, 교육 강화와 함께 재미교포들 모두 관심과 실행이 촉구되어져야 하겠다.

• 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.

• 패션비즈니스
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• 제5권4호
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• pp.158-175
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• 2001

The purpose of this study was to understand and improve the clothing habits and the apparel industry of North Korea in preparation for the reunification of South and North Korea. For this study, literary data, reports, periodicals, interviews and internet data of the two Koreas were reviewed. North Korean clothing habits used to be monotonous and uniform but nowadays people's clothes have become somewhat brighter in color and more diverse in design than before. In particular, liberal and individual dressing habits appeared among the privileged classes. When taking part in national events, women have to wear the traditional Korean costume, Hanbok, while men wear business suits for formal wear. In general, men don't wear Hanbok. Students have to be in uniforms but blue jeans, T-shirts with English logos were popular among them reflecting their sensitivity and openness towards western cultures. The brides usually wear pink Hanboks and the bridegrooms wear black business suits for their wedding. North Koreans also wear Hanbok on national holidays like South Koreans. Clothing is the most important item in the trade of process commission between North and South Korea. Trading items are mid to low end men's clothing for the most part due to less emphasis on fashion in the North. The processing is indirect trade and composed of sample making and contracting, sending out materials and production, carrying in goods and setting accounts. To activate South-North trade, establishment of infrastructure, stabilization of shipping, reducing high costs of distribution, building direct communication system by setting up office in a neutral zone and simplifying procedures in applying for the South and North Korea Economic Cooperation Fund. On the other hand, clothing and textiles education is carried on at art colleges, light industries colleges and commercial colleges in Pyongyang. Clothing institutes which study Hanbok and Western clothes, are installed in each city and province. Graduates who majored in clothing and textiles are posted in institutes or apparel factories. Their job is designing, patternmaking and sewing for their customers. Most of them are women and in good state of economic conditions. The North Korean clothing industry has been the core national industry that has developed based on overseas demand form the mid 1980s. The standard is that of South Korea in the early 1980s. In 1999, trade of North Korean textile products with trade counterparts such as Japan and China was $1.3 million in exports and $1.27 in imports. Of this amount the export takes up 25.4% of the total exports in North Korea. However, fundamentally even in sectors that are irrelevant to politics such as the fashion clothing industry, trust between the South and North should be a prerequisite. Only through this can exchange between North and South and economic cooperation contribute towards the reunification.

• 한국전통조경학회지
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• 제31권3호
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• pp.61-74
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• 2013

본 연구는 선조들이 궁궐이나 사가(私家)의 정원에 분을 이용하여 식물을 완상한 실증적인 사례들에 대하여 고문헌과 고전시문을 고찰하고 해석하여, 분에 식재된 식물소재와 분식물의 수형 및 식재기법 그리고 분식물의 배치와 애호행태 등을 고찰하였다. 연구의 방법은 분식물을 주제로 한 시문과 회화를 고찰하고 해석하는 기술(description)적 연구방법을 사용하였다. 본 연구의 결과를 요약하면 다음과 같다. 첫째, 분에 식재되어 애용된 식물로 목본류는 매화나무와 소나무를 비롯하여 만년송, 대나무, 동백나무, 석류나무, 치자나무 등 19종이고, 초본류는 국화와 연(蓮)을 비롯하여 12종이다. 둘째, 수형을 인위적으로 각별하게 가꾼 수종은 매화나무와 소나무로 두 식물은 왕피나 규반, 반간 등 줄기의 굴곡이 심한 생김새의 수형을 만들었으며, 기이한 등걸에 접붙인 매화나무와 괴석 위에 뿌리를 뻗게 석부하여 수형을 가꾼 소나무 분재도 있다. 분재의 수형미를 위해 노송에 솔방울을 달거나 줄기에 담쟁이덩굴을 식재하기도하고, '종분취경'이라 하여 분토에 이끼가 생기게 하는 부가적인 방법도 활용하였다. 식재기법으로 수경재배, 석부작, 숯부작, 모아심기 등도 시문에 표현되어 있다. 셋째, 분식물이 배치된 외부공간으로는 궁궐의 연조공간이나 연침공간, 사가의 건물 주변과 마당, 섬돌 위 등에 놓여 점경물 역할을 하였다. 분식물은 서재나 사랑방의 탁자나 책상, 문갑 위, 베갯머리 등에 놓여 실내공간의 소품 역할을 하며, 선비들은 이들 분식물의 고유의 특성과 상징성에서 의미를 취하여 즐겼다. 넷째, 분매(盆梅)의 개화시기에는 시회를 열어 매화를 감상하고 술을 마시며 시작활동을 하였으며, 국화 개화시는 술잔에 띄우거나 그림자놀이 등 풍류를 즐겼다. 다섯째, 분식물은 궁궐이나 사대부들의 아취 있는 모임이나 결혼식과 제사 등의 행사에서 점경물의 역할을 하였다. 여섯째, 분식물은 국가 간의 공물로 사용되기도 하고, 왕에게 드리는 진상품이나 왕의 하사품으로 이용되기도 하였다. 또한 선비들 사이에도 분식물을 주고받은 사례가 많으며, 목은 이색의 목은시고 에 분매를 선물한 최초의 기록이 있다. 일곱째, 분매와 분국, 분치, 분연 및 분에 심은 수선화 등의 개화시에 이들 식물의 고유의 향기를 즐기며, 시문으로 표현하였다. 여덟째, 동백나무, 서향화, 치자나무, 귤나무, 대나무, 석류나무, 해당화, 파초 등 남부수종이나 외래수종 및 내한성이 약한 종은 엄동설한에 중부이북지방의 실내에서 푸르름을 즐기기 위하여 분에 심어 활용되었다.

• 가정과삶의질연구
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• 제1권2호
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• pp.89-106
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• 1983

After accepting the modernized western culture, we, the Koreans, had traditionally patriarchal valuation on the family life, which has been changed into modernize on in these days. Under these circumstances, we examined into family consciousness of workmen, office workers and student of universities in Pusan with questioning papers by inquiring their general views of family, marriage, family planning , and inheritance. The results obtained can be summarized as follows. 1. General views of family 1)Most of them prefer nuclear family to gross one in structure of family. In decision of family's affairs, the lower educated persons want an unilateral relationship, which means unconditional obdience to their parent's opinion. they are more concerned about the profit of the family than that of individual. on the other hand, they want 2-generations nuclear family system. 2) Concerning children's future affairs, they want compromising method. 2. Views of Marriage 1) Date with the other sex motivated their desire to improve social adaptation and social association. 17-19 year old students regard date as a preparatory stage of marriage. They consider it most desirable date to enjoy free conversation each other. They hope their date partners are high educated. 2) The conditions of mate selection are in order character, health, vitality in living, appearance and education. The less educated placed an emphasis on vitality in living. 3) They are not much interested in marital harmony. If parents are against their marriage an account of bad marital harmony, they will take into consideration about it. 4) They wish to keep purity before marriage, as possible. They want engagement period of 6 months. Any agreeable reasons shall compel them to break off their appointment. 5) they consider it ideal for mate's age to be 26-30 years old, and also think it affirmative to follow their parent's agreement in marriage. It is considerable that they put off their marriage only because they have lots of work to do before marriage. 6)Marriage declaration is to be made on the wedding day. It still exists that they don't want to marry when they are inth same surname and family tree. But it is clear that they don't regard it as the reason of breaking off the betrothal. 3. Family Planning 1) They are willing to agree to the campaign "just two is enough". They want a son and a daughter. Even though they have two daughters, they won's bear child to get son. 2) the lower educated persons are ignorant of the method of birth control. 4. Inheritance 1)Most of them say householder inheritance is to be kept up continuously. It is reasonable that anyone who can afford to perform religious service should bear it responsibility. 2)They don't want the difference in inheritance as the conscious to the conscious of the equality of the sexes spread widely into our society, but it is worthy of notice that some of them still don't mind unequal treatment. 3) When they have no child, the property inheritances are in order his wife and his parents. According to above mentions, we conclude like this: Their consciousness of marital harmony, marriage, family planning and inheritance shows definitely passive rationism in the transitional stage which is mixed with western individualism and traditional feudalism. On account of being lack of steady fast self-conscience, they can not make their positive reaction on anything. Finally, we should make every possible efforts to have our firm self-conscience through the re-education.

• 복식
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• 제1권
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• pp.119-129
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• 1977

It is significant for developing the future for us to know our present age. In order to preserve our Korean costume as a fola clothes retaining our distinguished independent characterisitics and to help design the tomorrow of our Korean costume playing a role as a racial to develop the world clothing culture, a survey was conducted to investigate modern people's conscious-ness and wearing practumes of Korean costume by questionaire and interviewing methods. The results of the survey were analyzed as follows: (1) At present, Korean costumes were purchased as customtailored(64.0%) and as ready-made(17.8%) and most of them were not made at individual homes. The laundry and ironing of them were carried out at laundry shops(68.8%). Considering our present economic, social and cultural aspects, sowing, laundryand ironing will not be carried out at homes again in the future and ready made costumes seen to be produced in a large scale in the future. Garment makers and laundry shop operators should be trained how to make our Korean costumes retain our traditional beauty in the course of their production and laundry and the makers of ready-made costumes must make research how to efficiently produce ideal ready-made costumes by adopting the synchro system in their wrk odisivion. (2) The age group wearing Korean costumes most frequently was the aged people over 60 (their wearing rate; 45%-50%) and the group wearing them most frequently next io the aged people over 60, was housewives(their wearing rate; 15%-20%). Excludign aged people and housewives, other respondentsdid not wear Korean costumes very frequently. Men's wearing rate was lower their wearing rate was the younger their ages were and the less their monthly incomes were. Korean costumes were used for holiday and festival(60%), wedding and funeral ceremonies (52%), visiting and working(22%), casual wear(12.8%) and home wear(9.2%). The use of Korean costumes as casual and home wears, was lower than the use for holday, festival, visiting and working, Under our present circumstances in which our Korean people use both Western style clothes and Korean costumer, our Korean costume has lostits position as a basic and necessary requiement in Korean people's daily life and become a ceremonical and fancy costume. It is natural that the times and life change everything in our daily life. Our costume has to be made as good ceremonial and fancy clothes satisfying modern sensibility according to its new role. In order for us to get close with our clothes, a keen study must be carried out to cleat the color, material, style, function and harmony of the Korean costume matching the of the times. (3) The 47.8% of the respondents answered that they were proud of our Korean costume as our folk clothes, 47.6% replied that thought them just common and 1.1% responded that they were ashamed of it. Most of them were affirmative in feeling pride with our Korean costume. (4) Considering the functional aspect of Korean costumes, their strong points were symetric beauty, rhythmical beauty, unity feeling, harmonical beauty and detailed decorations. Their common shortcomings were lack of individuality and inadequateness for active life. The shortcomings of woman costumes were suppressing breast, making resperation difficult and in adequnteness in summer time. The main reason not to wear our Korean costumes, was due to the fact that they are incomvenient for active life. As a measure to eliminate such shortcomings, 1) the suspension system of skirt to remove the suppression of breast should be generally adopted. 2) they should be simplified in their structure to make them convenient for active life and adepuate in wearing them in hot weather in an extent to which the traditional beauty of the costume may not be lostand 3) a new technique must be explored for showing individuality by wearing method and new arrangment of colors and decorations. (5) The reasons desiring to wear Korean costumes were classifide as follows: A. Korean costumes are our traditional clothes(43.4%). B. Korean costumes are noble and beautiful(26.8%). C. They are accustomed to wear Korean costumes by habit(19.5%). D. Korean costumes are necessary for attending ceremoneis(9.5%). E. Miscellaneous reasons(0.8%). Classifying these reasons into age groups, the high age group over 40 wore them because they were easy to wear by habit and the low age group of 10-30 never thought that they were east to wear by habit. Considering that even those who were accustomed to wear Korean costumes showed a low wearing rate and that the young generation were accustomed to wear Western style clothes rather than Korean costumes, the wearing rate of Korean costumes will be reduced in the future if such trend continues. It is urgent for us to make our best efforts in order to enhance the interest of young generation in Korean costumes and not to make them lose the strong points of Korean costume in the future. (6) Conicering the plan of the respondents on what kind of clothes they were going to wear in the future, among the age group over 50, those who wanted to wear only Korean costumes were 24.8%(men) and 35.1%(women), those who wanted to wear 49.7%(men) and 47.4(women), those who wanted to wear chiefly Western style clothes were 20.7% (men) and 14.4%(women) and those who wanted to wear only Western style clothes, were 2.4% (men) and 2.1%(women). This shows that the general tendency to wear only or chiefly Korean costumes is more prevalent than that to wear only Western style. Among the age group under 50, the tendency to wear Western style clothes was conspicuous and most of the respondent answered that they would wear chiefly Western style clothes and Korean costumes occasionally. Only 5.4% of the respondent answered that they would wear only Western style clothes and this shows that meny respondents still wonted to wear Korean costumes. Those who wanted their descendants to wear what they desire, were 50.1%(men) and 68.8% (women) and those who wanted their descendants to wear Koran costumes occasionally, were 85.8%(men) and 86.3%(women). This shows that most of respondents wanted their descendants to wear Korean costumes. In order to realize, it is necessory for us to make ourdescendants recognize the preciousness of our traditional culture and modify our Korean costumes according to their taste so that they may like wearing them.

• 복식
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• 제16권
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• pp.15-42
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• 1991

A nation's culture isn't consisted by the characteristics of the nation only, but it is greatly affected by the geographical features and natural conditions, and it could be also dominated by the continual effect through mutual contact on economic exchange or social problem and political interests with neighboring countries. It is a well known fact that the contact of culture between Korea and Mongolia established under the special political situation that Corea was invaded by Won. But more basically, the Nomad including Mongolia had influenced upon neighboring countries, therefore, our country was also greatly influenced on consisting of our own culture by them. Moreover. the fact that our language belongs to their language's category(mostly Tweigru and Mongolian language) proves that the origin of our culture was deeply related with Mongolia. Accordingly, we could not limit the cultural relation between Korea and Mongolia within a special era. But especially, since unification of China by Mongolia, Won which appeared as a new great nation had dominated Corea for one hundred years, and the Corea's costume culture had a point of conversion to the mongolian. Therefore, this study expects to comment upon the relations of costume between Corea and Mongolia from a view point of Corea's tribute and royal gifts gifts by Mongolia written on the reference literatures. 1) From the ancient times, between our country and Mongolia there has been a direct or indirect exchange caused by the people's movement or invasion due to very closed neighboring. The relations between Corea and Mongolia have started from the mongolia's requests of tribute for the reason why they helped Corea against the Keoran's invasion, and these relation had continued by King Kongmin's age. 2) Mongolia had plundered a tribute such as dress, cereals, horses, military supplies, soldiers, maiden and little girls etc. from Corea, and therefore, a great confusion occurred on political, economic and social fields. And since King Chungyoul of Corea got married with a Princess of Won, the Corea's position was placed as the Buma nation(nation of son in law) and then high class people of Corea preferred to follow the mongolian costume such as Byunbal (pigtail), Ho dress (mongolian dress), Rouges, Chockturi (a kind of formal cap) and Doturak pigtail ribbon, and some have been applied up to date. On the other hand, the custom of Corea had transmitted to the Mongolian nobility, they called it "Corea Yang(style)". 3) The costume of Corea could be divided into three different periods, the first is the period influenced by Tang and Song's regime, the second is affected by the Won's costume and the third is applying the Myung's regime in the end of Corea. The Mongolian dress was based on the Ho dress form and it has been developed through compounding artistic traditional fields and foreign customs in long history. And Mongolia is composed of various tribes, therefore, they have their own dress for each tribe. Our country and Mongolia had a similar dress form based on Ho dress and both used the Chacksukunggo (jacket with small sleeves and slacks) and Seon(line). And the ornaments of costume such as Chockturi, Doturak pigtail ribbon and Rouges had transmitted and fixed down as a traditional wedding garment, but the Rouges has been used by noble women from the ancient times in our country. Since a member of the Society of Korean Costume has visited Mongolia in August 1990 for the first time, I really recognized the neccesity of more detailed study on the costume relation between Korea and Mongolia, and I will proceed with the study on various fields of costume under cooperation of Institute of Oriental Academy of Mongolia.

• 복식
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• 제39권
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• pp.113-123
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• 1998

This study focuses on the effects of the clothes worn by kisaeng; courtesans trained in singing and dancing, on changes in female psychology as reflected in general women's fashions during the later years of the Chosun dynasty. During this period, the social order had broken down considerable, due in part to the introduction of Roman Catholicism, and in part to the actions of Sil-hak, who emphasized open-ness and practicality in the organization of social affairs. This freer social environment disrup-ted the established social hierarchies. The kisaeng were among the first to respond to the new social mores by adopting more colorful, sensual, and individualized fashions. Their social position allowed them to reflect the new aesthetics of the time right away. Those aesthetics seemed to lay great emphasis on the artistic effects of contrast. The kisaeng would adorn their heads with large Kache (an elaborate wig or hairdo typically reserved for use by women in full formal dress). In contrast to this conspicuous hairstyle, they typically wore very tight-fitting Jogori (short-cropped Korean traditional jackets for women) around their upper torsos. The long skirts emerging from beneath these short jackets would typically flare out dramatically, with the aid of petticoats. However, these skirts would be bound at the waist with a sash, increasing the sexual suggestiveness of the clothing by drawing at-tention to the hips, and by exposing the bottom frills of the petticoats, or the wide pantal-oons and other undergarments the kisaeng wore to add volume to their skirts. The relative freedom enjoyed by the kisaeng to experiment with new fashions was not widely shared by most women. This generated envy from women of the noble classes, who were more bound by convention, and restrained from adopting such a mode of dress. It also generated envy from women of the humble classes, who saw the kisaeng as working little for their wealth, and yet dressing every day in finery that the average women would only ever be able to afford on her wedding day. This envy directed at the relative freedom/wealth of the kisaeng by women who faced greater socioeconomic constraints was given cultural expression through the adoption of elements of the kisaeng's fashion in the fashions of both noblewomen and humble women in old korea. The luxurious Kache sported by the kisaeng had in fact been borrowed from the habitual attire of upper-class women. So to distinguish themeselves from the kisaeng, they began to abandon these elaborate hairstyles in favor of traditional ceremonial hoods (Nel-ul-a thin black women's hood) and coronets (Suegaechima). This supposed reaction to the abuse of the Kache by the kisaeng still remained influenced by the kisaeng still remained influence by the kisaeng, however, as these headdresses became adorned with many more jewels and decorations, in imitation of the kisaeng's adaptations of the coronet. At the same time, noblewomen began sporting the Jangwue ; a headdress previously worn only by kisaeng and lower class women, and lower class women were then permitted to wear the Kache at weddings. All women behan to wear shorter, tighter Jogori jackets, and to add volume to their skirts. They also attached frills to their under-garments in imitation of the kisaeng's exposed petticoats and pantaloons. The impact of kisaeng fashions was thus deep and widespread, and can be understood as an expression of women's longing for freedom from socioeconomic constraints in the late Chosun dynasty. This study adopts an interdisciplinary ap-proach to the understanding of historical changes in women's fashions. Such interdisciplinary work can greatly enrich the study of fashion, often narrowly focused on clothing morphology and broad generalizations about society. For this reason, specific dynamics of feminine psychology in the late Chosun dynasty were elaborated in this study, to provide a deeper under-standing of the changes in fashion underpinned by them. If more such detailed analyses are undertaken, a whole new understanding of changes in fashion can be generated, and perhaps a transformation of the field of fashion history can be ultimately achieved.

• 문화기술의 융합
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• 제8권2호
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• pp.227-234
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• 2022

호남 서부의 전통적인 문한세가(文翰世家)의 후손인 석전(石田) 황욱(黃旭)(18913~1999)은 근·현대 서화계 흐름에 합류하지 않고 평생토록 선비의 풍모를 잃지 않고 자적지적(自適之適)하면서 오로지 전통서예에 천착하면서 독창적 악필법과 서예세계로 만년에 각광을 받았던 인물이다. 6.25 전쟁 직후 두 아들의 좌익활동으로 인해 가정적으로 큰 아픔을 겪으면서 가산은 탕진되었다. 이처럼 인간사에서 가장 고통스럽고 감내하기 힘든 시기에도 필묵시금(筆墨詩琴)에 의지하며 올곧은 선비정신과 민족애를 잃지 않으며 상고정심(尙古正心)하였다. 그리고 세속적인 감관의 쾌락을 초월한 무기무욕(無己無欲)의 '참된 즐거움(大樂)'속에서 자득하고 소요유(逍遙遊)하였다. 그의 학서과정은 특별한 스승없이 왕희지·구양순·안진경·조맹부와 신위·이삼만 등의 서체를 집중 연마하였다. 특히 환갑 이후에 찾아온 수전증으로 인해 절필의 위기를 맞이하였으나 강인한 의지력을 발휘하여 그 누구도 범접치 못할 웅건강기(雄健剛氣)의 악필법을 개발하는 등 새로운 예품과 예격으로 환골탈태하였다. 1965년~1983년까지는 '우수 악필법'을, 1984년~1993년 시기는 '좌수 악필법'을 사용하였다. 1973년(76세) 첫 개인전인 회혼기념서예전을 통해 서예가로서의 명성을 널리 알리게 되었다. 그의 필법은 역대 서법과 인위적인 기교를 초탈하여 천연졸박(天然拙樸)한 본성을 발현하여 생경(生硬)하면서도 근골이 넘친다. 그리고 침저험경(沈着險勁)한 추획사(錐劃沙)와 중후웅건(重厚雄健)한 인인니(印印泥)한 개성적 필의는 기이한 신운을 자아내며 기존 서법을 뛰어 넘는 독창적인 석전체(石田體)를 이루었고, 그의 불굴의 서예정신은 한국서예사에서 독보적 존재로서 여전히 귀감으로 남는다.