• 한국의류학회지
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• 제40권6호
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• pp.1062-1071
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• 2016

Olympic uniforms emphasize aesthetics along with sports fashion trends and tendencies to display national competitiveness through colorful designs that use the national flag or colors as motifs. Korea needs to enhance the national brand through international sporting events such as the 2018 PyeongChang Olympic Games (30 years after the 1988 Seoul Olympic Games); therefore, a multilateral analysis is required to promote a global image of Korea. This study presents a development direction for more diverse national brand values for Korea through design research on Olympic uniforms. Research methods investigated the concepts and changes of the Geongongamli, and Taegeuk symbols as well as Olympic uniforms based on literature data and existing studies using uniforms. An Olympic uniform using symbols of the Korean flag was designed through a case analysis of Olympic uniform designs of countries that participated in the 2012 London Summer Olympic Games and 2014 Sochi Winter Olympic Games that reflect the countries' image. The research scope excluded uniforms for the actual games and limited the uniforms to official uniforms for the opening ceremony that represent the characteristics of each country; consequently, we analyzed 70 uniforms of 162 countries of the Winter Olympic Games. As a result, official national symbols were more frequently reflected than unofficial symbols in the uniform designs of the Summer and Winter Olympic Games with more frequencies of direct reflection than indirect reflection. Korea's national brand is expected to enhanced through a uniform that expresses Korea's image at international events and global exchanges.

• 복식
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• 제5권
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• pp.83-101
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• 1981

This study is to research and analyse the Musicians' Costumes in Yi dynasty. Each costume for the musicians was, at that time, different in its design and style in accordance with what class the musicians were belonging to and what ceremony they were playing for, and the form and substance of them were changed according to the ages. In the early of Yi dynasty, the musicians wore their costumes imitated from the Song dynasty's. Especially in the 13th year of King Sae-Jong(1431), they divided the costumes into A-ag-Seo Jeon-ag Gwan-bog(雅樂署 典樂冠服) and Jeon-ag-Seo Gwan-bog(典樂署冠服). Meanwhile the musicians had to put on their different kinds of costumes according to the sorts of ceremonies they were playing for since January of the 16th year of king Sae-Jong(1434). It is widely known that confucianism was made a national policy in Yi dynasty. Compared the musicians' costumes for sacrificial rituals, however, with those for every kind of ceremony, one was simpler and shabbier without any strictly established forms than the other. At the same time, the musicians' costumes for ceremonies were, instead, designed in more gorgeous forms; it means that the sacrificial ritual was very lightly dealt at that time. It is very difficult to define, by standard pictures the whole style and form of the musicians' costumes in Yi dynasty in this study. Since we haven't shown any examples of the costumes, this attempt will be keepful.

• 공연문화연구
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• 제37호
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• pp.127-155
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• 2018

본고는 울산쇠부리소리의 민속연행적 구조와 그 의미에 대해 고찰하였다. 고찰 과정은 구조의 역사적 배경과 함께 구조적 특징의 주요 요소를 대비하면서 대비 과정에 울산쇠부리소리 각 구조의 의미를 살폈다. 울산쇠부리소리는 1.길놀이 2.고사 3.쇠부리불매소리 4.쇳물내기 5.쇠부리금줄소리 6.아이어르는불매소리 7.성냥간불매소리 8.뒷풀이난장으로 구성 되었다. 이 구성은 길놀이-고사-연행-대동마당이라는 민속놀이의 구조와 일치하며 민속신앙의 기본 구조인 청신-오신-위민-송신과도 유사하며 민속놀이의 길놀이-고사-연행-대동마당의 구조와도 일치한다. 이처럼 울산쇠부리소리는 순차적 병렬구조로 형식화 되었다. 울산쇠부리소리는 삼한시대 이래의 제천의식과도 닮았다. 육체적 희생에 따른 생명 탄생의 쇠부리소리는 새 생명 창조의 송가와 같은 역할도 한다. 울산쇠부리소리에는 한국의 민속문화 뿐만 아니라 좁혀서 경남지역의 민속문화가 그대로 녹아 있음을 알 수 있다. 울산쇠부리소리는 지모신을 향해 삶의 풍요를 기원하는 축제성격도 많다. 철을 생산하는 과정에 흙은 절대적 역할을 한다. 그만큼 쇠부리하는 사람들에게 흙은 신앙적 대상이라고 할 수 있다. 영남지역에 전승되는 민속연희 중에는 삶의 고단함을 넘어서려는 민중들의 애환이 예술정신과 혼합되면서 전승되는 연희들이 많다. 울산쇠부리소리의 경우는 삶의 고단함을 넘어 서려는 바람과 예술정신이 혼합되면서 만들어지고 전승된 경우라고 할 수 있다. 울산쇠부리소리는 전국 유일의 풍철기원(豊鐵祈願)의례다. 풍농과 풍어를 기원하는 의례는 전국에 다수 분포하고 있으나 풍철을 기원하는 울산쇠부리소리 의례는 전국 유일의 희소성을 지닌다.

• 보존과학회지
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• 제29권2호
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• pp.149-159
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• 2013

<문효세자 보양청계병>은 정조의 첫 번째 아들 문효세자(1782-1786)가 1784년 1월, 보양청에서 주관하여 첫 스승으로 모시게 될 보양관과 처음으로 만나 인사를 나누는 의식을 기록한 조선시대 궁중행사도이다. 전체 8폭으로 구성되어 있으며 과거에 수리된 적 없이 18세기 조선 궁중행사도병의 원형을 그대로 유지하고 있었다. 원본 장황의 조사를 통해 조선시대 병풍의 형태에 대해 살펴보고 이를 바탕으로 보존처리를 하였다. 안료분석 결과 채색 안료로 연백, 연단, 진사, 석청, 석록, 황단, 먹 등을 사용하였고, 현미경 확대 관찰한 결과 거의 대부분이 화면의 뒷면에서 배채법으로 채색한 후, 앞면에서 세부묘사 및 부분적으로 엷은 안료를 이용하여 채색하는 방법을 사용하였음을 알 수 있었다.

• 복식
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• 제59권10호
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• pp.68-84
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• 2009

A state wedding ceremony of kings and crown princes in the Chosun Dynasty was systemically formalized in a book Five National Ceremonies (1474) as one of the five major formal events of the royal auspicious ceremonies(Ga-rae). For a state wedding, Ga-rae Protocol was made by a devision for Ga-rae temporarily established for the occasion. A total number of auspicious ceremony protocols of kings and crown princes amounts to 20 in the span of 279 years. Among the proposals, the wedding of Soon-jong in the Imo Year of 1882 is described most thoroughly. Nap-bin-ui(reception of bride) comprises six rituals which are nap-chae, nap-jing, go-gyi, chaek-bin, chin-young, and dong-ryae. A grand formal costume of the crown prince is granted based on the 'Seven Parts Formal Costume' of the first year of the king Moon-jong in 1450 together with an official costume for crown prince(Gon-myeon-chil-jang) arranged in the third year of the king Young-rak. In the royal palace of the Chosun Dynasty, the granted formal costume of the crown prince is officially recorded as a code and presented in a Gwon-ji-il section of the Formalities of the Five National Ceremonies. The formal costume and its accessory set for the crown prince recorded as a code are described in Sangbang Jeong-ryae as the formal costume of the crown prince section published by the king's request at the high senate commission in the 28th year of the king Young-jo in 1752. The aim of the study is to investigate the formal costume of the crown prince as an auspicious ceremonial costume worn at the wedding in the year of Imo.

• 보존과학회지
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• 제30권1호
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• pp.13-25
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• 2014

이 연구에서는 안동 봉정사 영산회괘불도에 대한 비파괴성분 분석과 현미경 관찰을 통해 괘불에 채색된 안료의 화학적 성분 및 채색 기법을 해석하였고 이를 바탕으로 괘불의 화기에 명시되어 있는 채색 재료의 명칭에 대한 화학적 특성을 규명하였다. 백색 안료는 연백, 황색 안료는 석황, 유기염료, 적색 안료는 진사/주, 연단, 대자, 적색 염료을 사용하였으며, 녹색 안료는 석록 또는 녹염동광, 청색 안료는 석청, 쪽, 흑색은 먹을 사용한 것으로 추정된다. 화기에 명시된 안료 이름은 주홍, 중청, 하엽, 황단, 황금 등으로 주홍은 진사(천연) 또는 주(인공), 중청은 석청, 하엽은 석록 또은 녹염동광, 황단은 석황, 황금은 금박인 것을 확인하였다.

• 농촌계획
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• 제24권1호
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• pp.113-127
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• 2018

This study comprehends that the landscape of Ipsan Village is the accumulated output of the landscape management and social behavior by the historic personages through the reference research and field surveys. And the study sorted out the over-layered landscape characteristics of Ipsan Village by analyzing the dispersed landscape elements as follows. First, right before the start of Japanese invasions to Korea(1592-98), Tamjin(耽津) An(安) Family moved into Ipsan and started establishing the a single clan village. At a site with mountain background and facing the water(背山臨水), the village used to be a typical farming one with an organically planned road-system and housing area following the traditional order. However, the landscape has changed drastically since the 20th century with the construction of banks, roads and readjustment of arable land etc. Second, the original landscape, which can be figured out through the 'Gosanjaesibyukgyeong(高山齋十六景)' in the 18th century, shows its harmony with natural landscape: mountain & valley, stream & field, traditional trees, etc, cultural landscape: village, well, spring, etc, and momentary landscape: seasons, time, weather phenomena, sound, behavior, etc. Third, based on the second, 16 natural landscape elements: mountain & stream, planting, etc. and 25 cultural landscape elements: housing spaces, self-cultivation & ceremony spaces, community spaces and modern education & enlightenment spaces were selected and interpreted as landscaping meanings. Fourth, the over-layered landscape which stems from the compositive functions and inter-connectivity of landscape elements which consists Ipsan Village is regarded as 'Natural geographical and Fungsu landscape', 'Rural production and livelihood landscape', 'Confucian ceremony and symbolic landscape' and 'Modern education and enlightenment landscape.'

• 한국문헌정보학회지
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• 제29권
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• pp.45-62
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• 1995

'Vow by Five Meritorious Subjects' was drawn up in November 14 of the second year of King Sejo's reign. The document was a pledge taken by King Sejo's son, Prince Chang, and the King's five meritorious officers in charge of national foundation (개국공신), affairs(정사공신), national defense(좌명공신), national security(정난공신), national building(좌익공신), and their offsprings in an attempt to consolidate their political power and to eliminate the opposition after having forged their coup as if King Tanjong abdicated his throne in favor of King Sejo. The signatories to this document numbered 137 persons whereas non-signatories were 83. It appears that those 83 non-signitorious were unabled to sign the vow for they were not present at the signing ceremony which followed the drafting of the document because all of them had, later on, been promoted to advice King Sejo.

• 한국생활과학회지
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• 제1권1호
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• pp.1-25
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• 1992

The purpose of this study is to find out the traditional customs of family occasions-New Year Day, Full Moon Day, a marriage ceremony, funeral, first-year birthday, 60th birthday, other birthday, and moving a residence through a literature review. The content of each occasion consists of meaning, process of activities, costume, foods, plays, gifts, etc. The following research is suggested to survey on actual family life and to develop and provide ideal program of the family occasions through formal and informal education.

• 복식
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• 제57권3호
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• pp.108-123
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• 2007

The purpose of this study is to investigate costumes worn by high government officials which are illustrated in Tamna Sullyeokdo at the era of King Sukjong of the Joseon Dynasty. The findings of the study are as fellows: 1. Tamna Sullyeokdo showed that Moksa wore an simplified version of Jobok at a congratulatory ceremony. They wore Sibok at such events as examinations, Yeonhyang or Jinsang. Particularly at Yeonhyang, Samo was decorated with some red flowers. The officials wore Yungbok when they were participated in military training, hunting or arrow shooting competitions. They wore Pyeonbok when they go on a trip 2. Pangwan wore Sibok when they took an examination. They wore Yungbok during military training while they wore Pyeonbok during Tamseung. 3. Hyeongam wore Sangbok at a congratulatory ceremony. When they take part in military training, examinations, Yeonhyang or Jinsang, those officials wore Sibok. They also wore Yungbok during military training, Yeonhyang or Jinsang. They wore Jurip decorated with some red flowers during Yeonhyang. And they wore Pyeonbok when they were inspecting military training of Seongjeonggun. 4. Gungwan wore Yungbok at every events. They wore Jurip decorated with Hosu and Jeonrip on their head, and wore Cheolrik during military drills, arrow shooting competitions, examinations, Jinsang, or Tamseung. They wore Jeonip decored with red flowers during Yeonhyang. During regular military trainings, those officials wore Jeonrip decorated with Sangmo on their head and wore Cheolrik and Jeonbok. During Tamseung, they wore Jeonrip decorated with Sangmo on their head and wore Jeonbok with Jungchimak or a set of Jeogori and Baji.