• 복식
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• 제54권7호
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• pp.55-62
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• 2004

Research into the ancient dyeing and weaving culture is of critical importance to the fact that they constitute an integral part of the Korean costume. Due to the absence of the originals reflecting ancient costume cultures, it is difficult to figure out what the dyeing and weaving culture was like in ancient times. Because of limited visual materials available from the wall paintings of ancient tombs, studies conducted so far concerning the costume culture for the Goguryeo have focused on visual elements such as shape, structure, and type. As a result, research into ancient Korean dyeing and weaving cultures hasn't been properly made. Thanks to the presence of both some dyeing fabric originals from Goguryeo's neighboring countries and some visual materials like the wall paintings of the Goguryeo, it may be possible to obtain some clues to the dyeing and weaving culture. The dotted Pattern costumes were selected such as Muyongchong, No. 1 Jangcheon Tomb, Gakjeochong, Samsilchong, Ssangyeongchong, Susanri Tomb. According to a book titled ‘Hanwon’, the Goguryeo people manufactured fabrics in such a way that resist-dyed spots produced elaborate patterns over the purple fabric. It can be safely said that such dot patterns were produced by means of dyeing rather than weaving, because identical patterns aren’t well produced by means of painting and embroidery. Considering Goguryeo’s natural features, the dot patterns mentioned in historical literatures are thought to have been produced using animal’s skin. However, there is highest possibility that the dot Patterns were Produced using tie-resist dyeing or wax-resist dyeing techniques. With respect to the dyeing and weaving culture for the Goguryeo, one must refer to neighboring countries’ dyeing and weaving environments, given that the Goguryeo had engaged substantial cultural exchanges with China.

• 복식
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• 제52권8호
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• pp.1-13
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• 2002

The object of this research is to know the characteristics of design for stage costume design through experiencing production of costume design of Mascani's opera "Cavalleria Rusticana" and to know the effect of stage costume at real performance. Background of times and characteristics were reviewed by analyzing opera. And reference regarding Mascani's opera "Cavalleria Rusticana" and script, and image data analysis and interview with director were also done. Ethnic costume in Sicily in southern Italy was reviewed at conception step. and design was embodied by analyzing character of each person based on this analysis. Form of character. motion and vocalization were considered at actual production step, and stage effect was analysed by considering lighting, stage background, and combination of color on costume between characters through real performance. The above conclusion could present professional and systematic methodology in designing opera and other stage costumes. And this research can also be a contribution in these days when interest for theatrical art. along with importance of stage costume, plays a key role in modern art. role in modern art.

• 복식
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• 제57권7호
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• pp.122-136
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• 2007

All costumes used for dramatic effect delivers the character's individual data such as sex, age, social position, job, personality, and sense of values in the scene and leads the progress of drama as a media that describes psychological condition and image of the drama etc. symbolically. Therefore, it has a meaning of finding out the importance of film costume, recognizing the traditional culture through the expression and creativity limited to the age in expression, finding out the unique Korean beauty and succeeding it to the future generation. The film is the first costume drama in Korea, which is remake work of Lt;Les Liasions dangereuses, 1782> in the age of the King Jeongjo in Joseon Dynasty. And is comic costume drama that the story goes as a man of the noblest birth debuts as a filthy novel writer. Both films have remarkable grace, elegance and magnificence as having Joseon Dynasty on the background, and treats irregularities and dissipation hidden in the noble society that looks elegance on the surface. There are three aesthetic symbolism in films, naturalism neat beauty, traditionality expressed.

• 복식문화연구
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• 제24권2호
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• pp.273-286
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• 2016

Traditional Chinese operas are time-honored art form, they are vivid in expression, rich in content, embody social, thought-provoking, historical and artistic value. And as a splendid art form and part of China's brilliant traditional cultural heritage, traditional Chinese operas have been developed with Chinese history from generation to generation. Nowadays, with the comprehensive national strength increasingly growing, Chinese government is giving more and more importance to enhance people's awareness of protecting traditional Chinese opera. In actual fact, both Chinese scholars and the other scholars who have done some research in traditional Chinese operas and built up solid foundation for further study. Even though, traditional Chinese operas have not been fully understood by people outside the 5000-year-old civilization, especially what is the close relationship between the apparel and accessories and the names of dramas. Based on this condition, the paper selects and summarizes names of apparel and accessories in traditional Chinese dramas as its thesis, intending to explore the relationship between the apparel and accessories and the names of dramas, analyzing how such names in dramas highlight themes and promote the development of unique storylines. The paper will help Western readers further understand the meaning of traditional operas names' behind these costumes and promote Chinese traditional dramas spreading to abroad.

• 복식
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• 제50권7호
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• pp.47-58
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• 2000

Prime Minister Kim tart-song is said to have built this cave temple in the tenth year of the reign of King Kyongdok-wang(742-765) of Unified Shilla(751). The numerous stone Buddhist images in the grotto represent the best Buddhist figure of the Unified Shilla period and of all Korea. The Sokkuram Grotto is composed of the main hall, entrance to the main chamber and antechamber in space. The main hall beyond the small antechamber is round and the ceilling is domed. Within the rotunda sits a majestic Buddha(Amitabha), 3.48m in height and 2.6m in width, carved in granite and facing east. Surrounding the main Seated Buddha are eleven-headed Avalokitesvara Bodhisattva, Manjusri Bodhisattva and the other three Buddhist images, Ten disciples, Buddhist figures in the ten Niches in relief. An eleven-headed Avalokltesvara Bodhisattva of boundless mercy is sculptured on the wall behind the main Seated Buddha. Further guarding the Buddha are ten standing Arhans of the Disciples of Buddha. Next, two Devas. one on each side, stand guard. Two Bodhisattvas are the saints who are next to the Seated Buddha in importance, also one on each side. And, There are ten niches around the dome. They contain seven seated Bodhisattvas and one Vimalakirti(the name of a famous lay disciple of the Buddha). Two niches are empty. Consequently, there are total thirty-eight Buddhist images in the Sokkuram cave temple. The Buddhist images have been reguarded as masterpieces of Buddhist art and Shilla culture of Unified Shilla in the eightth century. The Buddhist images are represented very dear, elegance and beauty of detail skill

• 한국항해항만학회지
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• 제29권10호
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• pp.915-920
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• 2005

본 논문은 우리 나라 해운 기업에 있어서 여성인력활용의 저해요인과 개인능력, 성차별에 대한 인식을 조사함으로써, 여성인력의 중요성과 특수성을 검토하고 해운산업 내 여성인력 활용실태와 성차별을 진단하기 위한 것이다. 즉, 해운산업에 있어서의 여성인력의 활용과 그 저해요인, 개인능력 및 성차별에 대한 인식차이를 분석함으로써, 해운기업들의 여성 인적자원관리상의 문제점과 그 해결방안을 제시할 수 있을 것으로 생각된다. 결론적으로 우리 나라 해운기업들의 인식에 있어서, 실증조사결과, 우리 나라 해운기업들의 인식에 있어서, 여성인력활용의 고용저해요인과 개인능력 및 성차별정도에 대해 남녀간에 통계적으로 유의적인 인식의 차이가 있었다. 그리고 여성인력의 성차별은 직무성과에 부정적인 영향을 미치는 것으로 실증분석 되었다. 즉 해운 산업특유의 여성인력활용에 대한 배타적 인식의 수정이 시급히 요구되는 결과를 보이고 있다.

• 복식
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• 제64권8호
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• pp.164-178
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• 2014

Historically, white clothes have been passed down through the generations as the symbol of the Korean people. This study was motivated after coming across a text written by Lee Ok(李鈺, 1760~1815), a writer during the Joseon dynasty. Lee wrote that "Koreans mostly wear blue clothes." This raised questions regarding the wearing practice of the white clothes at the time of King Jeongjo's reign(1776~1800), and led to further studies on the matter. The results show that discussions were held about changing the color of the government official's changui(氅衣) from white to blue. An order was also given replacing white boots with black boots. Therefore, it is supposed that blue clothes phenomenon was influenced from the blue changui policy. However, this change was temporary as later generations wore preferred white with the exception being women's skirts. Women preferred blue skirts to white skirts for a long period. Detailed analysis of the white changui showed that people were burdened by high dyeing costs, and this was a big factor as studies indicated a large gap in wealth disparity. In a society that put funeral and ancestral rites as one of its priorities, the white clothes could have been favored due to its multi-functional use. Also, the noblemen who set importance on Gija(箕子) Joseon connected white clothes custom to Gija. This connotes that the reason for wearing white clothes differed depending on the class. And as white clothes were widely worn, people developed different ways of wearing the clothes for aesthetic purposes.

• 대한가정학회지
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• 제12권34호
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• pp.743-769
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• 1974

Au debut I'habit Iiturgique ne differait de I'habit de fete du simple citoyen que par sa richesse. C'est seulement quand, dans la vie courante, on adopta la robe courte que le vetememt liturgique commenca a se distinguer, meme par la forme, du costume civil. Les ornements liturgiques, en effet, ne sont qu'une forme stylisee de l'habit de fete de la fin de l'Empire Romain (du IIIeme au Veme siecle). Pour une ceremonie religieuse on se presente bien habille. Le meme sentiment de respect des choses sacrees a amene deja, vers la fin de l'antiquite chretienne, a donner au pretre un vetememt liturgique special. Pour celebrer la messe, le pretre revet par-dessus sa soutane un costume special, compose de l'amict, de l'aube, du cordon, du manipule, de l'etole et de la chasuble. Aux messes solennelles, les eveques ajoutent a ces ornements des bas et sandales, des gants, la tunique et la dalmatique avee la mitre ; en certain cas, les archeveques y joingnent le pallium. Aux messes solennelles, le diacre porte sur ; l'aube le manipule et la tunique. De ces pieces du costume liturgique, on dira brievement, apres leur emploi et leur forme actel, l'origine et l'histoire, mais seulement apres avoir marque les lignes generales parition et des transformations du costume liturgique dans son ensemble. L'evolution du costume liturgique a partir du XIIIeme siecle peut se resumer en quelques mots en raison souvent de la lourdeur des riches etoffes (velours et brocarts) et de l'importance donne a la decoration, toujours par rechereche d'une plus grande commodite on a abandonne lentement d'abord, puis rapidement adapte a partir du XVI eme siecle, les formes amples pour des formes courtes et etriquees. Il faut faire quelques exceptions qui marquent l'influence des gouts decoratifs de gouts epoque : La periode de 1700 a 1850 marque la complete decadence du costum liturgique. On a depuis essaye de lui rendre sa beaute et aussi sa signification symbolique, par un retour aux etoffes et a la decoration de la deuxieme partie du moyen age. Souhations que, sous la direction des liturgistes, en respectant l'essentiel de la liturgie aujourd'hui, avec le concours d'artistes epris du sens liturgique et des connaisseurs des tradtions et de toutes les ressources actuelles on trouve des costumes liturgiques adaptes a notre temps dans un style plus simple et correspondant au besoins actuels.