• 복식
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• 제24권
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• pp.143-155
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• 1995

Unlike pure art such as painting and sculpture, dressmaking , a field of special plastic art, is characterized by its physical and functional nature. Having an inseparable relation with form, it is a field of art expressiion the human innersense of beauty in correlation with other various fields of art. In this respect, I think it should be necessary for us to study the forms of art from the past in order to study the forms of art from the past in order to study the correlations and mutual influencies between forms of pure art and dressmaking and to understand modern dressmaking from the standpoint of art. In this context, this study is an attempt to analze how the form and characteristics of OP ART , which represents the trends of the 1960's is embodied in modern dresses. The results are as follows : Fist , the expression of OP ART in dresses have visual effects harmonizing with bodily movements and , also, expanded the range and dynamics of expression which resulted from the introduction of visual phenomena in a fresh new sense by not limiting itself to the suggestion of patterns of OP ART. Second, OP ART paintings expressed the mobility and rhythimicity of a body in a limited space in a two-dimensional plane way of expression . When a dress is worn, however, it expands such mobility and rhythmicity in a cubic , three-dimensional way, maximizing the effects of , and boldly expression, OP ART, it can also create a new silhuette and ability of formation by seeking an open expression of OP ART rather than an expression of OP ART it self , due to the infinite possibility and unpredictability by the dynamics of movements and the elements principle of designs. Third , by applying the patterns of OP ART to dresses, we can obtain special visual effects of design, cover up the body's weak points, and create a desired three -dimensional sense by highlighting the beauty of the body's curved lines. Although modern dresses and OP ART are different genres of art, both have something in common in their pusuits. Since there is a infinite possibility in OP ART, there should be continuous attempts to combine dresses and art satisfying the sense of the times, which will lead dressmaking to a higher-dimensional dressmaking plastic art.

• 복식
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• 제56권8호
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• pp.74-82
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• 2006

In ancient China, Su(綬) was the ornament of the full dress. It had originated from tying the jade or another thing before Jen(秦:Qin) dynasty and it tied the imperial jade seal and the chop from Han dynasty. Su of Han dynasty was different in the inscape, colour, length and density according to the grade. And the shape was the straight line. But these phenomena were changed after Han dynasty. This study showed how it changed. To studying used the comparison method of literature records, paintings and archeological relics. It mostly studied imperial Su. Su of Han dynasty of the high grade was formed by Yeok, the circle type jade and Su(Su moaned whole Su, at the same time moaned the part of Su, too). Afterward, Yeok was changed into Small Su[小綬] and Su was changed into Big Su(大綬). Originally the circle type jade was connecting Yeok to Su, but it was changed into tying Small Su only. Su of Han dynasty used the four kinds of colour, but from Su(隋: Sui) dynasty used the six kinds of colour. Originally Su was interlacing, but it was changed into the silk fabric from Song[宋] dynasty. According to using silk fabric's Su, it was likely to disappear the system distinguishing the grade by length. And it kept the method of interlacing the reticulation in the low part of silk fabric's Su. So, after using silk fabric's Su, the system of the density was not about the main body but about the reticulation. Su was been used woven with supplementary golden wefts, too. The circle type jade was chiseled the dragon and cloud from Geum[金:Jin] dynasty. These not the pattern of silk fabrics.

• 복식
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• 제61권3호
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• pp.71-82
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• 2011

This study set out to investigate the identity of everyday headgear, which is often found in many paintings of Tongshinsa, Joseon diplomatic missions to Japan, in the 18th century. That resembles Yu-geon儒巾, but on the top of the headgear are lappets like a roof. The study proceeded as follows: 1) The painting of Tongshjnsa parade in 1711 was used to analyze wearers of everyday headgear because titles of position are shown for each one. 2) Personal records of Tongshinsa in the 18th century were analyzed to examine the cases of everyday headgear. 3) Cases of everyday headgear in literature around the 18th century were examined. Those researches revealed three findings: 1) The names of everyday headgear with a roof shaped top are Gohu-gwan高厚冠 and Yeonyeop-gwan蓮葉冠. 2) Among Tongshinsa, wearers of Gohu-gwan or Yeonyeop-gwan are medical staff, interpreters, painters, and secretaries. However, it doesn't seem to have been distinction between the two types according to social class and position. 3) People wore everyday headgear, that resembled the two types in appearance, such as Mjnja-geon民字巾, Sunyang-geon純陽巾, Hwayang-geon華陽巾, Jeon-geon戰巾, or Jang-geon將巾 in China and Joseon around the 18th century. Among them, Sunyang-geon and Hwayang-geon seem to have had the closest relationship with Gohu-gwan and Yeonyeop-gwan in terms of shape and character of wearers. The analysis of the research findings led to the two following conclusions: 1) Gohu-gwan and Yeonyeop-gwan were worn as one of everyday headgear to represent appearances of a scholar. 2) Gohu-gwan and Yeonyeop-gwan could be changed versions of the similar everyday headgear or different names of them.

• 복식
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• 제57권9호
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• pp.1-15
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• 2007

The purpose of this study is to classify the types of and to examine the characteristics of the golden decoration technique used for expressing patterns on the costumes from Dang dynasty to Cheong dynasty era. In order to classify the types of the golden decoration technique and to examine its characteristics, literature review, focusing on documents and records of China, and investigation on the relics from Dang to Cheong Dynasty era were conducted. The types of decoration technique using gold include china JigGeum (brocade technique), InGeum (attaching gold powder and flake technique), GeumSaJaSu (embroidery technique), GeumSaTapestry, mixed technique. Interestingly, it was newly found in this study that embroidery with golden thread was used in the GeumSaTapestry technique and that there were some cases of the mixture of 2-3 gold decoration technique. The GeumSajaSu technique was used the most frequently from Dang dynasty to Yo dynasty era. However, its use had decreased enormously while the use of JigGeum had increased a lot since Geum dynasty era. The mixture of 2-5 techniques was used frequently in JigGeum, GeumSaJaSu, and GeumSaTapestry, but not used in InGeum. Particularly, the mixture technique was the most frequently used in the GeumSaTapestry, which expresses by composition of paintings. All four methods were used the mostly frequently in costumes, while GeumSaJaSu and GeumSaTapestry were generally used for home accessories. InGeum and GeumSaJaSu were used a lot for gaze and leno fabrics such as Sa or Ra, while JigGeum was mostly used for satin weaved fabrics like Dan.

• 한국의류산업학회지
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• 제5권5호
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• pp.481-494
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• 2003

The Gamrotenghwa of the Choson Dynasty is a unique genre of buddhist painting in that the destiny of the dead souls and the guidance to nirvana are expressed in reality. More than 50 of the Gamrotenghwa are known to be present, and the lower part of the paintings includes a wide assortment of folk customary scenes reflecting the social life style of the time when the painting was drawn, such as difficulties in life. public life, punishment and war. Changes in the costume of the people shown on the customary scenes of the Gamrotenghwa according to the time based changes in painting style were investigated in this study. The results are summarized in three points. First, the costumes of bureaucrats showed a tendency of preservation without any major changes in the painting. On the other hand, costumes of public and entertainer in the scenes were very close to those worn by the people at that time. The realistic description of public life in the painting may establish the value of the Gamrotenghwa as the historical documents. Second, the costume of the people in the painting showed a dual structure as the social positions; bureaucrats wore various official hats, large coats and belts to expose their social prestige. while the general public wore simple and convenient clothing which is divided into shirt and pants. The dual structure of the costume in the painting is in well accordance with that of the later period of Choson dynasty, suggesting that the customary scenes in the painting represent the social life style of the period. Finally, the customary scenes in the Gamrotenghwa are very variegated. which shows a variety of beauty of wearing even though they look coarse in a sense. The diversity of wearing beauty in the picture may contribute to the recreation of the beauty of shape in the new design of Hanbok.

• 복식
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• 제50권2호
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• pp.167-182
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• 2000

The purpose of this study is to examine the art nouveau fashion represented in the end of the twentieth century. The characteristics of art nouveau are naturalism, medievalism , exoticism, and decadentism. The influences of art nouveau were seen in the fashion of the late nineteenth century : S-curve silhouette and organic curve motives printed on hems. Art nouveau has reappeared in modern fashion trends such as romanticism , decadence, ecology, ethno, and fusion. To sum up, art nouveau fashion at the end of the twentieth century is classified into four shapes. First, art nouveau appears in naturalism. Influenced by the arts and crafts movements and naturalistic trend, it has reappeared at the end of the twentieth century in themes like 'art & craft'. This expression technique is to objectively nature and to represented art nouveau textiles. Second, S-curve silhouette appeared at the end of nineteenth century's fashion with the art nouveau influenced rejection of the bustle style. At the end of the twentieth century, the design , emphasizing the hip, is represented in fashion collections as a phenomenon of romanticism . Especially the art nouveau silhouette of the end of the twentieth century does not represent S-curve silhouette. But , it emphasizes the hip only. Third, Art nouveau exoticism by symbolism is influenced by Chinese and Celtic art, the Middle Ages, and the exoticism that appeared in fashion at the end of the nineteenth century : harem style, kimono style, and turbans. Exoticism at the end of the twentieth century is expressed by optical flower prints and successive floral print arrangements as seen in the themes of ethno and fusion. Fourth, one of the characteristics of art nouveau, decadence is influenced by the pre-raphaelite brotherhood. This is expressed in the images of vampires, and symbolism expressing grotesque insect motives and decadent successive curves. At the end of the twentieth century decadence is represented in fashion ; grotesque insect motives, tatto looks of organic curve motives celtic hair style, see-through fashion, grotesque make-up . Besides hair style techniques, decadent expressions applying art nouveau paintings also appeared. Finally , art nouveau fashion represented as a fashion trend at the turning point to the new millennium is one of great significance as an organic, an environment-intimate and continuance-possible design in a future.

• 복식문화연구
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• 제15권6호
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• 건축역사연구
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• 제20권3호
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• pp.23-38
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• 2011

The Axes and Adzes are the oldest tools since the beginning of human history which is used to cut the tree and make part of architecture such as boards, square timber etc. Nowadays, these old woodworking tools especially "Jagui(자귀)" (adze) has been almost disappeared at the working site of residential and cultural properties. It is necessary to study Korean traditional woodworking tools to keep Korean traditional skill and technology. It has been reviewed the change of shape of "Jagui(자귀)" (adze) from before Samhan (삼한) period to Joseon Dynasty through excavated relics and paintings and summarize as follows: Based on excavation relics of Dahori, both plate type blade and pocket type blade are used for "Tokki(도끼)" (axe) and "Jagui(자귀)" (adze). The excavated "Jagui(자귀)" (adze) from Jeongbaikri 356 tomb, near Pyongyang is prototype of "Jagui(자귀)" (adze) used nowdays which has almost same shape as well as the insert method of blade and handle. The auxiliary handle is inserted to blade and the main handle is inserted to the auxiliary handle which is different from the method of Chinese and Japanese "Jagui(자귀)" (adze). The length of handle of "Jagui(자귀)" (adze) until late Joseon Dynasty is short by which we assume it is used for a sitting position as hand held Jagui and from that time long handle has been introduced for a standing position which is called "Sunjagui(선자귀)". "Jagui(자귀)" (adze) has been used since the beginning of human history but it is almost disappeared at the most of woodworking site which is the crisis of Korean traditional architecture and we have to do something to keep it.

• 디자인학연구
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• 제15권2호
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• pp.187-196
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• 2002

한국의 현대 벽화는 한국의 시각적 수위를 드러내는 하나의 지표이다. 본 논문의 첫째 장에서는 한국의 현대 벽화제작 시스템을 분석한 후, 둘째 장에서는 조선시대의 풍속화나 시각상징물을 재현한 벽화를 라캉의 정신분석학적 개념을 빌어 설명했다. 라캉의 연구 중 주종을 이루는 상상계와 상징계의 개념으로 한국적인 소재 재현의 심리적, 정신적 배경을 분석하는 방법을 취했다. 한국의 벽화가 보여주는 시각 현실은 과거조선 시대 공동체와의 상상적 동일시를 피하는 것이라는 논지로 전개되었으며, 이는 서구 중심의 상징계에서 생활하는 주체의 분열상, 허구적 의식을 암시하는 동시에 주체의 시지각에 혼란을 초래하는 요인이 되어 또 다시 상상계적 재현을 되풀이하는 것으로 결론지었다. 결론에서는 이러한 시각 혼란 현상을 극복하고 실재 생활을 표현하는 시각 양식의 개발을 위해서 한국인의 아비투스를 연구해서 그에 맞는 대안이 마련되어야 한다는 후속 연구의 방향을 제시하였다.

• 한국컴퓨터그래픽스학회논문지
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• 제15권2호
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• pp.19-34
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• 2009

이 논문에서는 삼차원 메쉬를 이용한 자동화된 수묵화 렌더링 시스템을 소개한다. 먼저 수묵화의 특징을 분석하고 이를 바탕으로 수묵화 렌더링 시스템을 위한 요구사항을 제시한다. 또한 수묵화를 그릴 때 사용되는 중요한 단계들을 살펴본다. 이러한 분석에 기반하여 본 논문에서 제시하는 시스템은 다음과 같은 세 가지 레이어로 나누어진다: 중요선 레이어, 내부 칠하기 레이어 미디어 레이어. 본 논문의 가장 큰 특징은 사실적인 이미지 생성과 실시간 렌더링이라는 두 가지 요구사항을 모두 만족시킬 수 있는 새로운 방법을 제시한다는 점이다. 이 시스템은 몰골법, 백묘법, 구륵법 등 수묵화의 대표적인 세 가지 스타일을 쉽게 생성할 수 있다. 본 논문의 연구 결과는 컴퓨터 게임과 가상 환경 등 실시간 특성이 중요한 요소가 되는 어플리케이션에 바로 적용될 수 있을 것으로 예상된다.