• 한국생활과학회지
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• 제7권1호
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• pp.109-118
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• 1998

This study is focused on finding out the differences in wearing robe styles of Buddhist Statues between Shilla and Tien-lung Mountain. (1) Shilla Buddhist Statues are wearing Pyun-Sam that is similar to Jeogori(the traditional jacket of Korea). (2) Bok-Gyen-Uy of Tien-lung Buddhist Statues are roundish shape, and that of Shilla Buddhist Statues are oblique line. It is possible to conclude that these shapes are very concerned with the wearing style of each nation. (3) We can find another difference in the chest sash. Chest sach of Tien-lung Buddhist Statues is more functional, but that of Shilla Buddhist Statues is more decorative. (4) Wearing Kasa, Young-Ja(i,e.string of kasa) is used in Shilla Buddhist Statues, but not in Tien-lung Buddhist Statues. This the most different thing between Shilla Buddhist Statues and Tien-lung Buddhist Statues.

• 대한가정학회지
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• 제33권5호
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• pp.211-219
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• 1995

In this study of the Buddhist Stone Statues in Namsan in Kyungju. We have found out interesting facts as follow. This study is focused on the way the Buddhist Statues wear the robes. There are two basical types of wearing ; Tongkyun and Pyundanwookyun. In Silla, these types of wearing has been developed into its unique types based on the traditional culture. The stone Buddhist images show seven types of wearing based on the standard ones of Tongkyun and Pyundanwookyun. This variety in wearing rests on the various of Sungkari(Samghathi) and Bokgyenui(Samkaksika) and a chest sash which fixes Niwonsung(Nivasana). There are three cases inferred from the seven types of wearing the Buddha's robes : (1)Tonkyun type A: The only outer wear Sungkari(Samghathi) was put on as Tongkyun type. We can't find out any Bokgyenui(Samkaksika) or the chest sash of Niwonsung(Nivasana). (2)Tongkyun type B: Bokgyenui(Samkaksika) is put on the chest of Statue in Sungkari(Samghathi). (3)Tongkyun type C: This type is similar to Tonkyun type A, except that the end of the robe dangled down straight to the right side. (4)Tongkyun type D: Bokgyenui(Samkaksika) is bound with a chest sash. (5)Tongkyun type C: The robe is tied on the left shoulder as a cord and Bokgyenui(Samkaksika) is bound with a chest sash. (6)Pyundanwookyun type A: The robe dangled down from the left shoulder to the right armpit diagonally, so left shoulder is naked. (7)Pyundanwookyun type B: This type is similiar to Pyundanwookyun type A, but the end of Sungkari(Samghathi) is bound up to the left shoulder again. Considering above, the robe types of Buddha seem to have something to do with those of the Silla people: The chest sash is similar to the adjustment of Jeogori(the traditional jacket) of the Silla, and the typing cord in Buddha's robe corresponds to that of the traditional types.

• 한국건축시공학회지
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• 제8권2호
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• pp.131-136
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• 2008

Safety management is the most important factor in the construction industry. If the construction company don't control the risk, it causes the accident which give the company fatal loss. According to the Korea industrial safety analysis reports, the 25.72% of the disasters are from the construction industry, and the 13.6% construction disasters are caused by not properly using the safety gears. Therefore, this study is to investigate the Wearing Safety Gear by Occupational Classification and the Satisfaction in the Construction Field. The results are ; Carpenters are dissatisfied with the safety shoes and belt, re-bar workers are dissatisfied with the safety helmet and shoes, Concrete workers are dissatisfied with the safety helmet and goggles.

• 복식
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• 제61권10호
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• pp.72-88
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• 2011

This study is about the costume relics that were excavated from M10 of the 6th site, M13 and M14 of the 8th site among all the Runghai(龍海) ancient tomb sites that were known as the royal family's tombs of Balhae, which were built from the late 8th century to the early 9th century. These costume relics were also introduced in the academic journal of Chinese archaeology(考古) 6 in 2009. The summary of the results that focused on finding features of the costume relics and its meaning were as follows: 1. Male and female statues, both of which were excavated from the Runghai ancient tomb sites, had the shape and composition of the government official's costumes such as the Danryeong(團領), Bokdu, and Gwadae. The female's hairstyle and accessories were quite similar to other costume relics of Balhae. In particular, the male statues wearing the Danryeong and Bokdu were considered as the normal figures of government officials of Balhaeafter the mid 8th century. 2. The female statue wearing the male attire is considered as a maid, and we can confirm that women dressing up like a man was a popular trend in Tang(唐), and this trend was introduced to Balhae. 3. The back flap(垂脚) of Bokdu that the male statue is wearing in M10 of the 6th site, has a shape that has not been found in the ancient relics of both Balhae and Tang. Therefore, it is considered as a unique shape of Bokdu of Balhae. However, it needs to be observed more and discussed in the future. 4. In regards to the Gwadae, the outside of the Gwadae is decorated with jade and has an embossed carving that is gold inside. The Gwadae of the Runghaisites has a unique design and it is distinguished from other ancient relics. 5. The gold trefoil crown and the leather conical hat that were found in M14 of the 8th site can be seen as the basic composition of official's hats in ancient Korea. Also, the motif of the gold trefoil is closely related to Anthemion that is often seen in the relics of the Three Kingdom period. Thus, we can assume according to this important finding that the style of ancient Korea official's hats came from either the king or a royal family of Balhae after the mid 8th century.

• 복식
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• 제60권7호
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• pp.117-130
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• 2010

The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.

• 복식문화연구
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• 제5권4호
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• pp.12-31
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• 1997

This is a study on the changes of the ancient underclothes. Underclothing includes all such articles, worn by either sex, as were completely or mainly concealed from the spectator by the external costume. Functions of underclothes are follow ; to protect the body from cold, to support the shape of the costume, to cleanliness, to erotic use of underclothes and as a method of class distinction. Linen is the oldest as materials and cotton came into general use after the Restoration of 1660. We must suppose that woolen petticoat was at least as old as the Middle Ages and silk was rarely used until late in Victorian times. Until the middle of the last century underclothes were necessarily hand-made, and the absence of fit was noticeable until the introduction of man\`s drawers, fitting the leg, at the close of the eighteen century. Strings and ribbons were the fastenings for underclothes until the middle of the seventeenth century, when they were replaced by buttons. One outstanding example of the first type of figures is a Babylonian girl of about 3000 BC from Sumeria who wears that today would immediately be described as briefs. Female statues show no trace of anything being worn under the chiton, but there is literary evidenced that the Greeks. A band of linen of kid was bound round the waist and lower torso to shape and control it. It was known as the Zone or girdle. The apodesmos, meaning a band, breast band, occurs in a fragment of Aristophanes. A Roman mosaic shows female athletes wearing a bikini-briefs and bra in the fourth century AD. A similar band, called the mastodeton, or breast band, was also worn round the bust, apparently to flatten or minimise it, as in the 1920s, and not, to stress its curves. In Rome, too, women sometimes wore bands of material round the hips and bust-a cestus or girdle is referred to by the poet Martial and seems to have been similar to the zone, but wider, and the strophium, or breast band, is mentioned by Cicero.

• 복식문화연구
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• 제18권5호
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• pp.960-976
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• 2010

Even though Joseon Dynasty strictly identified between military and civil officials, the dress and its ornament have been studied only based on embroidery emblems that are correctly identified between military and civil officials. Thus, this study intends to research the features of the only military officials uniform, Cheollik, different from the civil officials's identifying them with other features shown from the records, unearthed relics, stone statue, Joseon-tongsinsa-haengnyeoldo(Illustration of Joseon Delegation to Japan), etc., and its results are as follows: First, for wearing examples of the military officials, from the facts that they had worn mainly ordinary clothes, etc. on announcement of military service examination. There was no difference between military and civil officials's clothes by Daejeonhusokrok and the other documents, and there was an assertion that the form of the military and civil officials's clothes should be different by the document, Hongjejeonseo, in the latter term of the Joseon Dynasty. It is presumed that length, width and shape of sleeves might have been different. Second, unearthed Cheollik of the military officials are mostly from the 16th~17th centuries and most of them have removable sleeves according to statistics. The skirt had an opening and one or two slits. Various textiles were used. Third, military official statues of high governor wear small caps and helmets. They wear Cheollik with the collars same as the collar of Bangryeong and Jikryeong, which is also called Dopji Cheollik. It would be considered as they wear the Bangryeong on top of the Cheollik. Fourth, militarly officials described on the Joseon-tongsinsa-haengnyeoldo(Illustration of Joseon Delegation to Japan) wear Cheollik, Rip, Donggae, Okro, Hongsadae, Hwando, Deungchae.

• 미술자료
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• 제100권
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• pp.140-170
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• 2021

정유재란을 겪으며 전소(全燒)된 화엄사는 벽암각성(碧巖覺性)(1575~1660)의 주도 아래 재건이 이루어졌다. 대웅전에는 목조비로자나삼신불상이 봉안되었는데, 1634년에 완성하여 1635년에 점안·봉안되었다. 2015년에 석가불상 복장 <시주질>과 노사나불상 대좌 내부 판재(板材)에 적힌 <묵서명>이 조사되고, 2020년에 노사나불상의 복장 <시주질>이 조사되어 비로자나삼신불상의 조성에 참여한 청헌, 응원, 인균을 포함한 열여덟 명의 조각승들이 밝혀졌고 선조(宣祖)의 아들 의창군 이광(李珖)을 비롯한 왕실과 종친, 천명이 넘는 승속(僧俗)의 시주자들이 동참한 대규모 불사였음이 알려졌다. 비로자나삼신불상의 본존은 높이 2.76m의 장육불상으로 당시 불교조각에서 널리 유행하던 장신형의 비례감이 아닌 두부가 크고 어깨가 좁은 고식(古式)의 단구형(短軀形) 비례감을 보인다. 주먹 쥔 왼손을 오른손으로 감싼 비로자나불의 지권인(智拳印)과 보관을 쓴 보살형의 노사나불상은 북송대에 고려로 전해진 전통적인 도상(圖像)이며, 석가불상이 결한 독특한 항마촉지인의 형식은 명(明)에서 전래된 경(經) 변상도에 나타난 도상이 불교조각에 반영된 것으로 생각된다. 화엄사 비로자나삼신불상에서 나타나는 신구(新舊) 양식과 도상의 혼재는 화엄사 불사(佛事)를 맡았던 조각승들이 고려시대 불교조각의 귀족적 전통을 계승한 조선초기 불교미술에서 화엄사 삼신불상의 범본을 구하려했던데서 비롯된 것으로 이해된다. 또한 전란으로 소실된 고려시대 비로자나삼신불상의 원(原) 모습에 가깝게 복원되기를 바라는 화엄사 산중대덕(山中大德)들의 기대가 불상조성에 영향을 주었을 것으로 생각된다. 이와 같은 관점에서 화엄사 삼신불상의 노사나불상은 고려시대 비로자나삼신불상과 도상적으로 연결될 수 있으며 고려시대의 화엄사에 이와 유사한 도상과 양식의 비로자나삼신불상이 봉안되어 있었을 가능성을 상정해 볼 수 있다. 만우 휘헌의 『화엄사지』(1924)에 따르면, 화엄사는 고려 왕실의 축성의례를 거행해온 사찰로 여겨지는데, 이 전통이 조선후기까지 이어져 화엄사 재건 불사에서 새로 조성된 대웅전 비로자나삼신불상 역시 조선왕실의 축성의례를 위한 예배대상이었을 가능성이 크다. 따라서 화엄사 재건에 왕실과 종친이 시주자로 참여한 점도 이와 관련이 있을 것으로 생각된다.