• 복식
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• 제47권
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• pp.125-142
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• 1999

Dancing along with mankind has existed in various ways form old age to the present. This dancing combined with artistic meaning is called the art of dancing. This study is mainly about the functions decorations and expressions of dancing costume and the claracteristics of the costumes by the 20th century designers Leon bakst Oskar Schlemer Pablo Picasso. The dancing costume were not so much different from those of the public from old age to middle age. In 18th and 19th centuries the length of the cotstumes become short from the knee to the thigh. The functions have much to do with the development of dancing for example the appearance of toeshoes. The costumes are designed not to prevent the movements of dancers smooth line in old age and ladylike vend high-blown line in the 18th and 19th centuries. Cotton and hemp textiles are turning into the transparent forms such as lace and gauge. The personal ornaments earings and necklaces have change into the pattern with wings and tassels. The dancing costumes of Leon Bakst Oskar Schlemer and Pablo Picasso are designed after the due consideration of body shape. Bakst focused on the beauty of smooth lines with splendid colors and decorations. Schlemer analyzed the body abstractly and metaphysically and expressed it with detaile and simple lines. Picasso emphasized cubic forms with cubism and expressed the characteristics of costumes with clear colors and smooth curved line. Bakst Schlemer and Picasso made the early 20th century the age of functional dancing costumes putting a light on the concept of space and foundation for the modern dancing costumes.

• 건축역사연구
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• 제21권1호
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• pp.27-46
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• 2012

The core idea of the critical regionalism could be summarized as a self-conscious synthesis between universal civilization and world culture. After World War II, it has been applied to architecture for overcoming the problem of Industrial Capitalism and uniformity of 20th century Modern Architecture. Naturally, religious architecture cannot also be an exception in this cultural trend, thus we can also apply the critical regionalism to the Korean Catholic Church Architecture with the basic premise that the Traditional Western and Modern Style Church Architecture should be regarded as universal civilization, and the Traditional Korean Architecture and endemicity as one of world culture. In the context, this article attempts to analyze the regionality of Korean Modern Catholic Church Architecture constructed between the 19th century and 1980's, and how it has been differently transformed with the view of the critical regionalism. Its analysis will be carried out within three types; transformation of the Traditional Korean Architecture and the influence of Japanese Modern Architecture, representation of the Traditional Korean Architecture, and abstraction of the Traditional Korean Architecture with each advantages and disadvantages.

• 한국실내디자인학회논문집
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• 제22권1호
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• pp.183-193
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• 2013

The study aimed to find the fundamental differences of aesthetics in Korea, China, and Japan by analyzing expressive features and structural meanings of the storage furniture from $17^{th}$ to $19^{th}$ century. The study was performed in four steps; analysis of expressive features, isotopic analysis, semantic structure analysis, and comprehensive interpretation. The results showed that three countries had linear shapes with curvilinear elements, closed forms with open spaces, natural material hues with change of tone or color, and symmetrical forms with asymmetrical patterns and structures in common. Korea comparatively accented on the natural material colors and wood grains. China stressed on the big and wide faces using three-dimensional carving. Japan accented on the linear elements with strong color contrast and decorative metal fixtures. These features were caused by the traditional thoughts and according aesthetic principles. Korea and China were affected by the Confucianism focused on establishing the order of rank. Meanwhile, Japan was more influenced by the Buddhism emphasized on the individuality and communication. Therefore, the differences of the expressive features in furniture among the three countries were inevitable consequences of the different ideologies.

• 헤리티지:역사와 과학
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• 제52권4호
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• pp.206-225
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• 2019

조선시대 문헌에서는 유리거울을 서양경(西洋鏡), 양경(洋鏡), 파리경(玻璃鏡), 파려경(玻瓈鏡), 석경(石鏡) 등 다양한 명칭으로 불렀고, 이를 경험하고 느꼈던 당시의 상황과 교역에 관한 자세한 내용을 살필 수 있다. 이를 통해 17세기 이후 청·러시아와의 교역을 중심으로 유리거울이 수입되었고, 조선 후기에 들어와 수입금지 품목에 포함되는 등 18세기에 들어와 사회적으로 큰 반향을 일으켰던 신문물로 확인되었다. 19세기에는 일상생활에 필요한 상품으로 더 크게 확대되었고, 특히 일본과의 교역이 눈에 띄게 성장하였다. 18~19세기의 유리거울은 개인이 용모를 확인하는 기본적인 용도에서 벗어나 상업적인 용도로까지 폭넓게 활용되었다. 당시 중국이나 일본을 방문했던 조선의 지식인들은 이에 관한 시각적 충격과 경험들을 글로 남겼고, 유리거울에 대한 유용함은 조선의 소비 욕구로 이어져 유리거울의 수입을 자극하였다. 이로 인해 18세기 이후 유리거울은 조선의 청동거울을 빠르게 대체하였고 유리거울을 이용한 새로운 공예품들이 제작 및 사용되기 시작하였다. 특히 실내에서 사용하는 공예품으로 일체식 유리경갑(一體式 琉璃鏡匣)을 개발해 전통적으로 사용해왔던 빗접과 함께 이용해 편리하였다. 당시 경갑의 인기는 국립중앙박물관 소장 <태평성시도(太平城市圖)>를 비롯해 조선시대 풍속화에서도 잘 볼 수 있다. 또한 중국의 기형으로 볼 수 있는 경대(鏡臺)도 조선에서 많이 제작했는데 서랍 개수와 크기, 상자 형태 등 다양한 방식으로 제작한 여러 형태의 경대를 살필 수 있다. 또한 휴대용의 작은 면경도 조선만의 미감으로 표현한 길상 문양, 장식 기법을 통해 품격 있는 공예품들로 제작되었다. 19세기에 들어와 프랑스, 네덜란드, 영국 등 유럽에서도 유리거울을 수입했지만 19세기 말 이후에는 일본식의 공예품들이 성행하였다. 일본 명치~대정시대에 유행했던 유리경대가 수입되었고 대형의 유리거울을 이용한 공예품들이 사용되었다. 이른 시기부터 있었던 경병의 경우 응접실처럼 큰 공간에 진설하거나 연회를 위해 중국·일본으로부터 수입했으며, 서양식으로 거울을 벽에 걸거나 부착해 공간의 밝기를 조절하고 외부의 풍경을 들여와 실내를 장식하는 방법이 도입되었다.

• 복식문화연구
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• 제19권5호
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• pp.1102-1118
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• 2011

The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for the future education of the department of movie costume design. For a study method, literature relating to movie costumes and underwear as well as captured images from 29 historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century was reviewed. Among them, data from 17 movies where underwear and crinoline were observed was analyzed. Historical movies, set in the $18^{th}$ century Europe exposed underwear more frequently and decisively than movies set in the $16^{th}$ and $17^{th}$ centuries. For the figure wearing underwear, its expression effect was maximized by the implication function of costumes. Underwear can easily express the time and space background and symbolize the character's social and economic position, attitudes, and values. In addition, the exposure of underwear can reveal characters' internal expressions, such as mental status, taste, temper, intention, mood, time and space display. The result of observing the underwear shown in movies reveals that underwear plays a subjective role in expressing ideal femininity as a woman of a particular age, modesty, social position symbolism and eroticism that depended on the situation. It is expected that the study will provide an opportunity to reconsider the function of underwear, which is different from the meaning of costume history, and its role as a means of communication by considering the change of underwear by age.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2001년도 International Costume Conference:Exploring Global Costume Culture
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• pp.89-89
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• 2001

• 중국학논총
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• 제72호
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• pp.223-238
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• 2021

Most of the Chinese immigrants in the 19th century migrated to the eastern part of the Malay Peninsula via Penang. At that time, the British colonial government recruited Chinese immigrants to supply Chinese labor. The influence of the Chinese in Penang has been greatly increased due to the continuous influx of Chinese immigrants. Specifically, looking at Chinese immigration, from 1805 to 1815, a large number of Chinese labor migrants, from about 500 to 1,000, arrived from Macao to Penang, Malaysia, and they were all contract migrants. In the late 19th century, most of the Chinese in the Malay Peninsula were resettlement from Penang and Singapore. At that time, the Malay Peninsula desperately needed to clear the jungle for farm development, and thus a large-scale labor force was needed. Therefore, the Chinese labor force that was overflowing in Penang and Singapore was able to meet the demand for labor in the Malay Peninsula.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2001년도 19th International Costume Association Congress
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• pp.127-127
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• 2001

• 복식문화학회:학술대회논문집
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• 복식문화학회 1997년도 제10회 학술발표회
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• pp.6-8
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• 1997

• 한국의사학회지
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• 제26권1호
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• pp.1-7
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• 2013

Jeonuigam(典醫監) is one of the Big Three of medical government office through the Joseon dynasty era. But Jeonuigam literature is extremely rare. This paper is to analyze 362 cadets of "Jeonham-saengdoan(前銜生徒案)" by writer of Jeonuigam origin. Jeonuigam filled cadet on a three-year cycle because the national examination for medical officials is conducted on same cycle. Most cadets came from a few meritorious family of medical career officials. Ratio of ten major family stand at 34.91 percent. 373 of the 392 cadets are confirmed as family member of medical bureaucrat. They have a very closed society. Wancheon(完薦) and cadet system strengthen the monopholy power of a few family. The analysis of study confirmed that in the 19th century Joseon(朝鮮) dynasty had monopolized the medical technicians.