• 복식
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• 제19권
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• pp.209-240
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• 1992

The costume of any nation is an attribute of a culture. This study concerns chinese and Mongolian costume's 'collar' form according to the observation of some reports about import folk materials and the pictures of the genuine objects, the author has investigated and rearranged them focusing on 13th Century's. 1. Traditional OverCoat or National costume on the poing of won dynasty in china such as Jacket, Coat, Mantle for making classical matching color, lacing, pearl pieces, and all costume shall be properly decorated and disigned. The example, Chinese Women's Gown and Double Jacket, on top of alignment of plaid, focus shall be placed on chinese classical form and color-matching, such as flowers and bireds, butterflies, made wishing ornaments, which shall be either hand painted or embroidered on collars, fronts, sleeves openings, and lower portion of gown. 2. Mongolian Costume, the stone status of a person, are seen at the territory of the Republic of Mongolia was a powerful country of Asia. So during the Mongolian Empire a lot of Missions from many countries came to kharakorom for establishing official relations between Mongolia and a country represented by mission. In particularly, the costume of mongols on the point of Chinggis khan Empire which the upper clothes in cluded ; a several kinds of the Caftan as compared with in Korea as to material (Silk caftan, Cotton Caftan, Fur Caftan) with closing to the right due to overlapping and Stand-up-Shawl Collars will pancho style & Round or V Neckline. 3. As compared with in Korea it is said that this a sort of Simui was brought in prior to the middle of Koryeo dynasty. Korean Simui system was complied with chinese system through confucian domestic behaviour. This was respected for court dress of confucian scholars, as it was, Chumri can ordinary dress of schloars) and Hakchangui ( a uniform of confucian student). Generally its form or shape of the outer lapels of Korean jacket were used together Squar-Tray-Collar. In late Yi-dynasty the inside collar length was longer than the outside collar length and the width of the collar was gradually narrow. And so the Traditional costume's outer collar of Jacket and OverCoat became small while the width and length of breast-tie became large. The same thing as the form of the collar on these days had been appeared by the design method or adjust one's dress. Therefore the form of collar in the china and Mongolian Traditional OverCoat & National Costume is fix arranged according to Stand up Collar, Without Collar, Clothing to the Right, Central opening, Horizontal Row of Button with Round or V Neckline and so on.

• 한국의상디자인학회지
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• 제8권1호
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• pp.81-96
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• 2006

This study aimed to investigate the sociocultural phenomena which affected to clothing change in 1650-1900 and to examine the features of men's necktie in the western art. For this study, information about historic neckwear is obtained from the visual evidence of painted or engraved portraits, contemporary written sources. The covered area of this study was Europe mainly England and France. For this process, research steps were as follows : 1. Investigating the sociocultural phenomena which affect to clothing change through 1650-1900 and analysis of men's clothing and appearance. 2. Finding the changing characteristics of neckties including it's different types, shapes, knots, colors and materials and analyzing similarities and differences of neckties by the times. 3. Examining necktie as one of important and representative icons of male gender identity. The results of the study was as follows: 1. In 1660-1900, men's fashion was simplified in color and detail due to the influence of practical Puritanism and matured civil culture. And British men's fashion spreaded throughout whole European countries and get popularity. 2. In 1650-1720, there were band, cravat and steinkirk. And expecially cravatier, a expert custodian of cravats, was appeared in that period. In 1720-1800, there were stock, solitaire and cravat. In 1800-1850, neckwear were popularized and got various sizes and types up to shape and size of chemise collars. Black stock, scarf cravat and shawl cravat were popular and terms of 'necktie' were used for an certain neckcloth shape. And abundant literature for necktie were published thanks to the development of printing technology in that period. In 1851-1900, the leady-made neckties were spreaded and there were changes in shape, length, knot of necktie up to V-zone formed with shirt's collars and vest types. Neckwear was gradually evolving through four distinct styles, bow tie, scarf or neckerchief, Ascot and four-in-hand. 3. After the mid-l7th Century, as civil culture matured and splendid and extravagant colorful men's wear disappeared, British men's fashion spreaded throughout whole European countries and got popularity. The necktie become an essential ornamental accessory of men's fashion and one of important and representative icons of male gender identity.

• 박물관보존과학
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• 제23권
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• pp.1-16
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• 2020

이 논문에서는 부여 규암리 출토 '금동관음보살입상(국보 제293호, M335번)' 1점을 현미경으로 확대 관찰하여 제작기법을 확인하였고, XRF 성분분석과 Hard X-선 조사로 구성 성분과 불상 표면 처리 방법, 주조법을 확인하였다. 이 불상은 연화대좌 위에 직립하는 보살상이다. 불상 양 측면으로 흘러내린 천의와 대좌에 표현된 연화문의 모양을 볼 때 7세기 이후에 만들어진 불상의 특징을 하고 있다. 대좌 안쪽에서 내형과 외형을 고정시키기 위한 틀잡이와 주물의 주입 흔적이 관찰되었다. 또한, 주조기법은 팔과 대좌 부분에 청동 주물시 형성된 기포가 확인되어 이를 종합해 볼 때 고대 중소형 금동불 제작에 많이 사용되는 밀납주조법으로 제작한 것으로 판단된다. 성분분석 결과, 불상 내부에서는 시기적으로 6~7세기에 많이 나타나는 구리(Cu)-주석(Sn)-납(Pb) 계열의 3원계 합금을 사용한 것으로 확인되며 이는 금속을 합금하여 주조를 쉽게 하고 불상에 표현된 문양 및 장식을 선명하게 표현하고자 하는 의도로 추정된다. 불상 표면에서는 수은(Hg)이 검출되어 금(Au)을 수은(Hg)에 용해시켜 도금하는 방식인 아말감도금기법을 사용했던 것으로 추정되며 이러한 도금방법은 고대 한반도에서 제작된 소형 금동불에서 주로 확인되는 불상의 도금 방식이다.

• 패션비즈니스
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• 제5권4호
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• pp.127-143
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• 2001

This thesis looks into the characteristics and compares the clothing styles between the Three Kingdom to the Unified Shilla era. The purpose of this study is to see what common themes exists between the foundation of Korean clothing and how it has evolved and through see to what extent the Chinese influence has been to Korean clothing culture. Also by explaining the originality and creativity of Korean clothing, we will be able to make clear the status of Korean culture. These findings include the following; 1. The Korean strait line Gik-ryong Kyo-im can also be found at the Gochang region in the west. 2. The Ban-ryong-ui, worn by the aristocrats of the Three kingdom and Unified Shilla era, began to appear from the nobles from the Nam-Buk cho(South-north era). This combined with a Bokdu(headwear) became a part of casual dress wear. 3. Go(pants) became a traditional part of clothing for Unified Shilla and the west. 4. Ban-bi and Bae-dang, all forms of Bansu-ui ( short sleeve), came from Chinas Kucha and Hotan and came to Korea. 5. Chinas Pae-baek and Pae-za (Shawl) which is the same as Unified Shillas Peo was also to be found to have come from the west. 6. The way a different color line was added to clothing both can be found in Korean and western clothing. Similarities to material used are; First, expensive wool was used and mostly originated from the west. From far away Rome came the O-saek-gae (Five-color wool). Secondly, Kong-gak me (peacock feather) and Bi-chi mo were all originated from the west. Third, Sil-sil is stated in the Sam-kuk Sa-ki (Three Kingdom records) as being prohibited to be worn by Jin-gol women (Highest nobility during Shilla era) as headwear or comb (pin) or as a comb(pin) for yuk-doo poom ( 6th class nobility) women. Suggesting that it existed and other sources tell us that it came from Tashkent region of Russia and was a jewelry of some sort. From what we have seen above, we can see the similarities between Korean and western clothing cultures and that these interactions not only occurred with China but with many other nations. We can see that our ancestors were creative and original that when importing foreign cultures that they transformed them into a Korean style. That these foreign cultures were transformed into our own style is good evidence to these facts.