• 복식
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• 제36권
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• pp.167-181
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• 1998

This paper is the result of research about what imply the symbolic significance of the shamna's costume in Siberia and Central Asia by using plates, medias and exhibitions in JNME. The reselts of the present study are summarized as follows; 1) The researcher define the shamanism as incantation, religious phenomenon centering arround shaman who communicate with the existence of preternatualness by possession or trance. 2) Siberia and Central Asia's shamans are comunicated with the existence of preter naturalness by trance. 3) In Siberia and Central Asia, the shaman's costumes is presented in a shaman ritual are caps, jakets, ornaments, stick and shoes. They symbolize spiritual world, stupendous shaman and powerful animal. 4) A significant symbolic meaning of shaman's costumes is that they change shaman to the existence of preternatualness.

• The International Journal of Costume Culture
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• 제5권2호
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• pp.1-14
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• 2002

The first purpose of this research is to investigate the functionalistic concept through the general consideration of Functionalism, and to study the art's aesthetic value of functionalistic expressionist artists implication and form in terms of architecture and product design. Secondly, it analyzes the implication and shape of Functionalism towards 'Art to Wear', which can be explained as a mixture of fashion and art. The results are as follows; First, functionalistic 'Art to Wear' of Mechanical Analogy appears to have futuristic inclination stressing the significance of geometric shapes and machine aesthetics. It uses new materials, and reduce an unnecessary work of art to convey more accurate, concrete and effective character of form. Secondly, functionalistic 'Art to Wear' of Organic Analogy regards natural elements as important to pursue the warm human nature. Also, it appears to be free and comforting forms of Functionalism through an organic silhouette. Thirdly, functionalistic 'Art to Wear' of Moral Analogy excludes excessive ornaments, and includes the implication of appropriate and purposive purity which serves for practical function.

• 한국의류학회지
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• 제18권4호
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• pp.460-472
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• 1994

The Purpose of this study was to find in the art the basis of originality appeared on the fashion design and investigating the erotic expression appeared on the ornaments how art surrealism, pop art, post moderninism-formularize in the modern fashion. This study about the expression of eroticism and modren costume, through the source of pictures contained in art books and mode magazine and documents investingation has resulted as follows: First, the formality and contents that related art and fashion shows us a various aspect. That based on modeled characteristic and various technique of the art. Second, the expression of eroticism in fashion expressed differently in style, material and expression method that is more strongly, sometimes metaphorically with spirit of the time's. Third, the expression of eroticism in fashion whether direct way or symbolic way has appeared as partial exposure of the body. It is appearing to the course that can display individuality of each person over the taboo of the part and the previous limitation of fashion.

• 건축역사연구
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• 제27권1호
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• pp.7-16
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• 2018

Meoricho of Dancheong is a pattern that placed at the end of each elements. We call Dancheong which has Meoricho Moro-dancheong. Meorico is the pattern comes from the metal ornaments of ancient architecture. The most primitive forms of Meoricho is Saw-toothed Design. Since the influence of Buddhism in the Northern Wei dynasties Saw-toothed Design have changed Tied lotus Design. Tied lotus Design of the Unified Silla it becames Gak-yeop Design and Yeo-ui-doo Design Meoricho in Goryeo Dynasty. Since Goryeo Dynasty there's been great and small variations in the internal composition of Meoricho, but the outline has maintained as it was. Therefore the completed form of the outline of Meoricho could be regarded as the one that was formed in Goryeo Dynasty.

• 한국실내디자인학회논문집
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• 제4호
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• pp.22-26
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• 1995

The objects of this thesis are to examine the ways of applying the postmodern theory into the contemporary de-signing based on the korean culture and history. As the results of this study Ⅰfound the expressions of the postmodern design has much value to communicate because of the importance of the aesthetics. One of the most important postmodern design concepts, the historical allusion is also accepted as an aspects of new "ism" after modernism. In applying the historical motives the problem is that we must understand the meaning of ways of life and culture included the external ornaments. Finally if we consider not only the hardware aspacts but also the software aspects - society, history, region and culture - we can make our postmodern design lan-guages.

• 대한가정학회지
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• 제44권1호
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• pp.151-157
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• 2006

Ten types of male headgear-Kwonwoonkwan, crown-like headgear, hats with a square flap, hats with feathers, crowns with plumes, Ballip, hats with flat crowns, Somo, turban, and fur hats-were described in Jip-Sah, which was published in the 14th century. Mongolian people used summer headgear, winter hats, and crown ornaments, which had been used until the Ch'ing dynasty of China. From the late 12th century to 1304, the headgear styles remained the same, suggesting that the Mongolian people kept their tradition. Kwonwoonkwan, crown-like headgear, and Somo, presented in Jip-Sah, were also described in U. Yadamsuren's album, a pictorial depiction of the 20th century Mongolian headgear.

• 복식
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• 제50권8호
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• pp.113-128
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• 2000

This essay examines the costumes for gods and priests in ancient Mesopotamia as they are depicted in various documents and artifacts of the period, and it is part of an ongoing project that studies the process in which the religious costumes, the means of religious communication, of ancient Mesopotamia had evolved. The study shows that the religious costunmes in ancient Mesopotamia have following characteristics. 1. The costumes for gods are the same as those for men, including warp-around skirts, tierd skirts, shawls, and tunics. However, there are some differences : costumes for gods include such distinguishing features as aprons and long tassels. 2. Both wear stylized headpieces that indicate their divinity and have long hair and long beard. 3. As for shoes, the Sumerian and Babilonian gods go barefoot, but the militant Assyrian gods wear sandals. 4. Sumerian and Babilonian figures do not have much, but the Assyrian gods wear various ornaments including earrings and bracelets that emphasize their muscular physique. 5. Priests wear weird skirts or wrap-around skirts but no top. They have shaved hair to indicate their role as purifiers, but some of them have long beards.

• 복식문화연구
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• 제11권2호
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• pp.243-252
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• 2003

The study was designed to review the changes in designs and the manufacturing methods of french hood, one of the headdresses which play an important role in showing the appearance of costume, to understand design expression techniques through manufacturing of the head dress of the western costumes, and to provide materials to exert creativity for new designs. Based on literature review and portrait study, 1 manufactured a frenchhood. I set the study cope as from the late 15 century when frenchhood was used for the first time, to the mid 16 century. For the frenchhood selected, 1 examined the hair style, the characteristics of the french hood, and the pattern first, and proceeded to manufacturing. 1 used velvet and silk for the textile as explained in the literature. And, 1 purchased such similar ornaments as shown in the pictures, making the color so similar to the original to the most. Dimensions in manufacturing were those In the literature, since the study is focusing on the reproduction of the features of the portraits. Dimensions of detailed decoration were measured using the ratio of the headdress in the portraits.

• The International Journal of Costume Culture
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• 제6권1호
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• pp.1-10
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• 2003

This study aims to analyze the influence which Marie Antoinette, an unfortunate queen and fashion pioneer, had upon leading the creation of fashion in the eighteenth-century. In addition, this study attempts to expect some insights of fashion on the basis of analysis. Marie Antoinette created a new trend of fashion all the time through her hatred of restricting freedom, discontentment and caprice. She created the robes a l'anglaise, a la polonaise, a la levite, chemise a la reine, and so on. Also, Marie Antoinette created a giant hair style by hiring a hairdresser named Leonard. It can be believed that even though Marie Antoinette is open to censure owing to her frivolity, vanity and extravagance, she is recognized a creator of womanish, beautiful, delicate and graceful dress and ornaments.

• 복식
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• 제50권3호
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• pp.5-12
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• 2000

Jaesuk-koli an important part of the 12 shamanistic rituals, is an accepted buddhist monk's costume. In this paper, the Jaesuk-kori costume and its meaning are studied. The ornaments of shaman's costume differe somewhat from region among individual shamans, but the symbolic meansing are fairly similar. The significance of Jaesuk-kori shaman's costume ar as followed ; First , a Buddhist monk's costume is accpted in the Jaesuk-kori ritual costume. Second, a shaman wears Jangsam (long-sleeved buddhist robe) and Kasa (surplice) in the Jaesuk-kori rituals. Third, the ornament of Sipjangsang objects search for earthly happiness while the rotus flower embroidered on the costume , depicts purity in the heaven world. Fourth, five colors in the Jaesuk-kori costume represented, Yin and Yang of universal harmony. Jesuk-kori ritual costumes signify that traditioal shamanism was accepted and absorbed into Buddhist rituals system.