• 제목/요약/키워드: history of costume

검색결과 511건 처리시간 0.025초

근동지역의 복식연구 II -오스만 터어키(Osman Turkey)복식을 중심으로- (A Study on the Near East Costume (II) -Osman Turkey Costume-)

  • 오춘자;박길순
    • 복식문화연구
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    • 제2권1호
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    • pp.1-27
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    • 1994
  • This result of the study on the costume of Osman Turkey are as following. 1. Empire of Osman Turkey(129∼1922) exerted an almost limites impact and influence on Europe and Asia during their regime 600 years. The distant ancestors of the Osman Turks were nomadic peoples, who wandered I tribal groups through the Central Asia. Therefore their costumes were based on nomadic culture. They had trade with West and East were influenced by Hellenism and Byzantium and grew, to a strong Islamic political power polygamy with which influence their clothing along with other culture. 2. Topkapi Saray was one of he principal residences of the Osman sultans and his court. Late 17 century, Topkapi Saray found many of kaftans of Osman Turks Empires of 14∼17 centuries. Otherwise we studied by the minatures of 16∼17 centuries, Since the Topkapi Saray became a museum in 1924, a program of careful restoration has made it possible to some pars of it to the public, after centuries neglection. 3. Osman Turkey Empire had important role in between West and East(silk-road). Economic, commercial, social and political factor of Turkey led to a development in the art of weaving (kema, kadife, catman, seraser, zerbeft, hatayi, kntnu, atlas)parallel to the rise and development of the Osman Turkey Empire itself, one which raised the art to a level attained nowwhere else in the world. Fabrics woven from gold and silver thread occupied a very important place in the court life of the time. This was due as much to their symbolic as to their material value, reflecting as they did the power, glory and magnificence of the Empire. 4. In order to study Eastern or Western history of costume one must study Turkey history of costume in advance. Also there is a great need of comparison to study of western, central and north eastern area history of costume.

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일본 전통복식문화에 타나는 원(原)근대성 (The Proto-modernity in Japanese Traditional Costume History)

  • 허은주
    • 한국의류학회지
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    • 제34권9호
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    • pp.1415-1428
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    • 2010
  • Modernity in costumes is analyzed as the preference of change and novelty, the formation of the masses, and the aspect of function, which is transplanted by western modernization. However, it is seem that the factor of modernity in Japanese traditional costume history. This study examines the Proto-modernity in Japanese traditional costume history. First, this study examines the term 'Imamekashiki' which means the present time. Because of the recognition of every present time arises from the recognition and the preference of change and novelty. In the pre-modem Era, this study examines the masses formed by the publication and the play, Kabuki. This study provides an alternative answer to understanding what is to 'wear clothes' for Japanese people.

한국과 프랑스의 남성 모자 비교연구 - $17{\sim}18$세기를 중심으로 - (Comparative Study on Korea and French Men's Bat - During 17th Century to 18th Century -)

  • 양지나;이상은
    • 한국의상디자인학회지
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    • 제9권2호
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    • pp.115-125
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    • 2007
  • A hat is a general term for what human beings wear on their heads in order to protect them from the cold or heat, to be used for ornament, or to symbolize social position. A hat represents the position of a man who wears it, attitude toward the society, and faith for a religion for males. Since men's hats can create their image and uniqueness in casual wear from current fashion items, they are proposed as a fashion accessory item of designers each season. The purpose of this study is to review hats, which are part of costume, in a more analytic method. The research range of this study is hats for men in the upper class in the 17th to 18th centuries from the history of costume when diverse periodic and characteristic costume changes occurred. In the 17th to 18th centuries in the middle of the Chosun Dynasty, changes in costume occurred as the feudal society of the dynasty had been dissolved since the Japanese invasion in 1592. Political power was established in France as the Baroque Age began in the 17th century. Since European costume, especially women's costume led fashion in France, the country represented the age better than any other countries. Aristocratic costume in the Rococo Age of the 18th century was changed to completely different shape of costume after the French Revolution. In this regard, this age was deemed to be the most appropriate for the comparison or costume. Another purpose of this study is to review the common and different features of periodic factors that affect changes in costume by researching the hats of the two countries in the same age in order to understand relation between periodic characteristics and costume throughout history of costume.

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초상화 복식을 중심으로 본 퀸 엘리자베스 1세의 영화 의상에 관한 연구 (A Study of Queen Elizabeth I's Cinema Costumes Viewed from Her Portrait)

  • 성광숙
    • 복식
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    • 제62권8호
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    • pp.55-70
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    • 2012
  • In 16th century, during renaissance time, Britain's queen Elizabeth I, as a means to express her authority, had an exaggerated clothing styles and was the fashion leader of the time. Thus, through a media of Cinema, tried to find out the characteristics and different aspects of the history of clothing styles, of how they changed, ascertained, restored, and reappeared in the modern time. The research was based on the consideration of Elizabeth I's 33 portraits and her clothing styles; and the research is also from analysing the movies from 1937 to 2007, a total of 9 Cinema and 102 clothes. Movie costumes' most important mission is representing the cinema's timely and spatial background. Thus, it is inevitable that ascertaining and restoring Elizabeth I's portrait should be done. However, the movie costume has to show her dramatic lifestyle, dignity, absolute authority, and other visual images. In addition, the costume has to contribute in making artistic effect and thus the creativity of a designer to satisfy all these needs should be added. Based on the findings from the research, the characteristics of Elizabeth I's Cinema costume are first, ascertaining and restoring portraits, second, mixture of silhouette and detail depending on time period, third, partial change on clothing style design, fourth, emphasis of ruff collar, fifth, magnification colors, sixth, avoiding excessive swelling and decoration, and applying modern style on Protective costume. Thus, based on the research, creative design in Cinema clothing, plays an important part in the history of clothing design. I hope this research could work as a foundation reference for clothing design's history.

동ㆍ서양의 복식에 나타난 노란색의 상징적 의미 연구 (A Study on Yellow Color′s Symbolic Meaning in Oriental and Occidental Costume)

  • 이윤정;김경인
    • 한국의상디자인학회지
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    • 제5권2호
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    • pp.17-29
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    • 2003
  • This survey paper examines general characteristics of "yellow" color, the oldest color in the history of art. Also the research aims to find meanings of the color and historical development embedded in clothing and textile both in orient and in occident where different philosophy and history developed. It is found here that the yellow symbolized both positive and negative meaning in the history of costume throughout the world. The color, however, was used to symbolize mostly positive meaning in the orient whereas not in the occident. "Yellow" color in orient used to symbolize the supremacy of the emperor, excellence and authority. The meaning of "yellow" color in the occident is two fold: from the positive viewpoint it represent god, king, wisdom, wealth and holy light, and from the negative viewpoint it represent image of betrayal and distrust, image of immorality, image of death and disease and image of jealousy and hatred. The concept of "yellow" was generalized in orient by the "Eum-Yang-O-Haeng Theory", while in occident by the Christianism. And the concepts came to hold concrete meanings and thereafter the symbol of yellow appeared.ings and thereafter the symbol of yellow appeared.

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복식사 연구에서의 타학문과의 연계성의 현황 (The Present Position of the Interdisciplinary Approach of Historical Clothing and Textiles)

  • 정미진;정홍숙
    • 복식
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    • 제52권4호
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    • pp.15-23
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    • 2002
  • The purpose of this study was to pave the way to improve the quality of historical clothing and textiles and to search for the advisable direction of future studies by examining and analyzing the interdisciplinary approach of historical clothing and textiles related articles published in The Korean Society of Costume. For this analysis, the data were included 124 historical clothing and textiles research articles published in The Korean Society of Costume from 1980 to 2001 March. The followings show the results of this study. 1. The five dominant interdisciplinary fields of historical clothing and textiles were Identified : anthropology, art history, pop music, archaeology, sociology 2. The interdisciplinary research has been actively approached in historical clothing and textiles. 3. The most frequently approached field of the interdisciplinary researches of historical clothing and textiles was art history 4. The period that has most variety interdisciplinary fields was the present age. The studies of future historical clothing and textiles should be approached in more diverse areas of interdisciplinary way and time periods.

초피고 (A Study on Cho-pi)

  • 박춘순
    • 복식
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    • 제42권
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    • pp.25-42
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    • 1999
  • This study aims to prove that the fact that minority races in the north-eastern region contributed sable skin to the Quing Dynasty might be related to Cho-Sun of King Muryong in the Warring states period because documents are available here and there. The Chinese had been using fur clothing since ancient times but we cannot find any mention that they had used sable skin. This fact shows that sable skin was not widely used because of its rarity. Cho-pi had been used in making costume on a large scale from the period of the Han Dynasty to the end of the Quing Dynasty. Cho-pi was very rare and it was used as a measure of bartering. China met the demand of cho-pi by the Cho-pi contributions of the frontier minority races. It might bwe that the high demand of Cho-pi in the Quing Dynasty forced minority races to contribute Cho-pi The documents concerning Cho-pi in the north-eastern region are of great importance not only to the history of costume but also to the history of ancient economy and national culture.

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