• 대한지리학회지
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• 제39권4호
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• pp.585-601
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• 2004

본 논문은 구한말에 ‘신작로’의 건설과정을 시ㆍ공간적으로 살펴봄으로써 교통체계의 급변기에 그것이 어떤 계기로, 어떤 과정으로. 어떤 양태로 진행되었는지를 역사지리학적으로 검토하는 것을 목적으로 하였다. 연구의 규모는 전국 스케일로 하여, 연구시기는 통감부 시정하에 있었던 1905년부터 1910년까지로 하였다. 연구의 결과를 요약하면 다음과 같다. 첫째, 신작로의 계획 및 건설의 목적은 군사적인 목적보다 경제적, 행정적 목적에 치중하고 있었다. 노선은 중요한 두 지점간을 연결하는 단거리 노선이 많았고, 도로를 이용한 네트워크 구성은 간과되었다 둘째, 노선형태는 한일합방 이전에 일본인들이 활동 근거지로 삼은 개항장이나 철도역과 인근의 경제적으로 관심을 가진 장소 혹은 도청소재지 등 지역중심지를 연결하는 형태를 취했다. 셋째, 간선철도가 이미 존재하던 곳에서는 철도역을, 철도가 없던 지역 즉 함경도나 전라도 등지에서는 개항장 등 항구를 기점으로 한 교통체계를 보였다. 종래 서양 연구자에 의한 교통발달모델은 항구 중심으로 내륙 진입노선이 생기고, 최종단계에서 내륙 관통노선이 형성되는 것으로 되어 있는데, 한반도의 경우 진입노선보다 먼저 간선철도라는 내륙관통노선이 군사목적으로 생겼기 때문에, 독특한 교통발달단계가 나타났다. 이는 동시에 기존모델을 절대시하는 시각에 대해서 의문을 제기한 것이기도 하며, 국가, 지역마다 발달모델은 달라질 수밖에 없다는 증명이기도 하다.

• 복식
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• 제63권2호
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• pp.82-97
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• 2013

The aim of this thesis is to investigate the change of men and women's costumes in late 18th century and early 19th century in view of its ideological streams by examining the portraits of the painter Jacques-Louis David. The method of investigation used was to select 29 pieces of portraits from 1766 to 1825, which showed the clear descriptions about the costumes and to analyze the costume's forms, ornaments and the headdress. The category was divided into 3 stages in terms of the changes in costume. The first stage, from 1766 until 1788, is the one of turnaround from the Rococo costume to the early neoclassical one. The typical Rococo costume was incrementally transformed into a simpler design without ornaments, and then natural silhouette in men and women's costumes started to appear from 1783 until 1788. This might be attributed to the neoclassical trend which was affected by the enlightenment ideology. The second stage, from 1788 until 1795, is the period of change from the costume of the early neoclassic style to the typical neoclassic style and also the time from the 1793 to 1795 was regarded as the peak of neoclassic style when the effect of enlightenment began to decrease while one of neoclassicism exerted its strong influence on the costume. The third stage, from 1795 until 1825, similar to the previous neoclassical style was also notable in its turning into producing the empire dress of Empire style. From 1820 on, it was a period that showed signs of influence from romanticism while the effect of neoclassicism started to become more diminished.

• 대한가정학회지
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• 제44권1호
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• pp.131-138
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• 2006

The yanggwan is a striped headpiece for civil and military officials worn with jebok, a costume for the royal ancestral worship ceremony, or jobok, a ceremonial costume for the courtier. It was called a jegwan when it was worn with a jebok. The geumgwan and jegwan are of the same style but the geumgwan has a gilded band and backside and the jegwan is mostly lacquered. The yanggwan was worn first with the jebok by the officials, both of which were received from the Chinese Ming dynasty in the 19th year of the King Gongmin's reign during the Goryeo period. The royal crown and court clothing system was two grades lower than the standard clothing code of the Ming dynasty of China. In the Joseon dynasty, the oyanggwan worn by the highest grade officials had five-stripes but was later replaced during the Daehan Empire by the seven-striped chilyanggwan used by Ming dynasty officials. Oyanggwans make up the majority of the surviving examples of these headpieces, with the exception of the six-striped yukyanggwan of Chung In-hak (1839-1919), the Minister of Justice, which originated in the Daehan Empire and whose owner is definitively known. The gilt portion of this yukyanggwan is finely engraved in relief with a bird, flower and tendril motif. The yukyanggwan is topped by a decorative bird ornament, called a jeongkkot. EDSS spectrum analysis of the gold plating reveals a composition of 51.32% gold and 10.34% silver. The yanggwan is composed of bamboo, mulberry paper and silk crepe. The black portions are lacquered. The individual yang is made with twisted mulberry paper.

• 한국의류학회지
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• 제34권5호
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• pp.873-887
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• 2010

Yuan Shi Kai, the first President of the Republic of China, established a ceremonial uniform system based on ancient styles in 1914 just before the national polity was changed to the Empire of China in 1915. This system is Jisiguanfuzhi (a system on costumes for memorial services), and figures included in the system are Jisiguanfutu (figures showing costumes for memorial services). This study is the first to examine Jisiguanfuzhi and Jisiguanfutu and to approach the background idea of the establishment of the system with a focus on the meaning of 'unity.' Jisiguanfuzhi regulates the ceremonial uniform system of all classes from the President along with the 1st-class to the 5th-class people. The uniform consists of a crown, robe, belt, the mid-section cloth, and boots. In addition, the uniforms of ritual musicians and dancers are included. The basic principles in establishing the system were the restoration of ancient systems, the adoption of convenience, the acceptance of current practices, and the implication of symbolism. Jisiguanfuzhi clarifies that the pattern of the ceremonial uniforms was modeled on Juebianfu, for religious services. The reason for choosing Juebianfu for religious services was to achieve 'unity' and Juebianfu was associated with 'unity' because it was common to all, from the emperor to the gentlemen class, in ancient times. Yuan Shi Kai tried to show flexibility to the gentlemen class who represented the intellectuals at that time by adopting Juebianfu for religious services, fearing that the gentlemen class might oppose the attempt to restore the imperial system. Therefore, although Jisiguanfuzhi adopted mostly Mianfu and royal sacrificial robes, it also emphasized 'unity' by professing that the uniforms were based on Juebianfu for religious services.

• 한국지역지리학회지
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• 제15권1호
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• pp.67-85
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• 2009

중앙아시아 횡단철도는 가스피해 횡단철도, 카자린스크 철도, 투르케스탄-시베리아 철도, 카자흐스탄 횡단철도 등으로 구성된다. 중앙아시아 인구의 약 1/5에 해당하는 주민들이 이 철도를 중심으로 거주하고 있으며, 중앙아시아 경제의 70%정도가 이 횡단철도를 기반으로 하고 있다. 유라시아의 심장지역으로 간주되고 있는 중앙아시아 횡단철도의 건설은 해양세력과의 지정학적 경쟁, 변경지역과 중심지역간의 연계 강화 및 중앙아시아 경제의 특성화가 주 목적이었다. 구소련의 붕괴 이후 중앙아시아 각국의 모든 철로망이 주로 러시아와 연계를 맺고 있지만, 그 외 인근국가들과의 연계망이 미흡한 상태에 있다. 장기적으로 중앙아시아 횡단철도의 발전을 위해 해결해야 할 과제가 많지만, 그럼에도 불구하고 동서로는 동아시아와 유럽을, 그리고 남북으로는 러시아/발틱해와 인도양/페르시아만을 연결하는 대륙의 교량으로서의 역할은 여전히 유효하다.

• 한국의류학회지
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• 제37권8호
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• pp.1029-1043
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• 2013

The pearl is a highly valuable gem that has historically represented wealth and power. Pearl necklaces have developed intro various types and represent an essential status item for modern women. This study first examines the symbolic and various meanings of pearls. Second, this study examines wearing types and pearl necklace patterns based on historical figures and modern fashion icons famous for personal displays of pearls. This study examines and analyzes various specialty publications about jewels, history of costumes, fashion magazines, academic research data, and internet search results. The conclusion of this study is as follows. Pearls have various symbolic meanings that are unlike other gems. Pearls represent purity, innocence, marital fidelity, an intimate relationship with the moon, frozen tears of God, solitude, triumph over adversity, wisdom, and sensual attraction. The societies and people traditionally famous for pearls were the Roman Empire, Queen Cleopatra of Egypt, Queen Theodora of the Byzantine Empire, Queen Elizabeth I, Queen Marie Antoinette, Empress of Eugenie Napoleon III, and Queen Alexandra. They showed a special affection for pearl necklaces and various wearing patterns unique to the time. Their pearl necklaces became a historic and symbolic legacy. Reestablished through the costume jewelry of cultivated pearls designed by Coco Chanel in the $20^{th}$ century, the pearl necklace has showed a variety of fashion trends in addition to a traditional symbolism of wealth and power. Josephine Baker, Louise Brooks, Marilyn Monroe, Elizabeth Taylor, Jacqueline Kennedy, Queen Elizabeth II, Princess Diana, Michelle Obama and Sarah Jessica Parker have worn notable pearl necklaces and established an individual style that utilizes the adornment of fashionable and stylish pearl necklaces. They have worn pearl necklaces while applying various fashion trend motifs to symbolic pearl features of that have changed the perception of the pearl and themselves.

• 한국의상디자인학회지
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• 제7권1호
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• pp.41-54
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• 2005

The purposes of this study on various headgear at the age of the Persian Achaemenes are to analyze one cultural aspect of the Achaemenes Kingdom that made a great empire about 5th century B.C. and to understand the ancient Persian culture. It is widely recognized that the Persian region was an important place for cultural exchange between the East and the West through the Silk Road and its culture affected China and Korea. Therefore, it is necessary to study ancient culture in this region for further understanding of the Korean culture. However, research activities have not been satisfactorily conducted. This study is an attempt to elevate the interest in this subject. In this study, European archeological materials covering Naqsh-e-Rostam (a tomb of Darius), Apadana stairs, Darius palace in Persepolis, and Bistun(Behistun), the relief at the age of the Achaemenes Kingdom, were collected and analyzed. From this study, the following results were obtained. For crowns at the age of the Achaemenes Kingdom, two kinds of shapes are observed; Mitra, a kind of headband, in the early period and a cylindrical one in the later period. Mitra was also worn by chiefs trusted by the king. Further, slightly different styles of cylindrical crowns were observed, which is considered that kings might wear unique crowns to symbolize new period of their reign. In addition to crowns, various styles of headgear for subjects are observed, meaning that tribes conquered by the Persian empire used their unique headgear. Further, such different styles of headgear might be a tool for social classification. Representative styles of headgear include the semicircular one worn by the Median nobles, Strophion originated from the Elam's headband, and nomadic tribes' Baschlik observed in the Median relics.

• 건축역사연구
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• 제20권6호
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• pp.169-184
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• 2011

The following research of the road network of Jeju-Eupseong during Daehan Empire period has a twofold purpose: to study some characteristics of the road network at that time; and, to restore it to the original form of that period before a newly constructed road, called Shinjakro, has been established. As an attempt to trace the old shape of Jeju-Eupseong, this study analyzed some historical factors based on the first land cadastral map which was made in 1914, including outskirts of Jeju-Eupseong; such as castle itself, castle gate, road, bridge, lots of land, etc. Then this study also tried to restore the old road network of Jeju-Eupseong, through finding the original land-lot shape in the land cadastral map. There was five Shinjakro made between 1914 and 1917. The road network before then was composed of the double east-west axes and the single north-south axis. These axes was connected to some important place of the inside of Jeju-Eupseong; such as castle gates, fountains, Gaek-sa, etc. There were many branch lines between these main axes at about 80-120m intervals. Also there was an outer road along the outer wall of castle, connected with each castle gates. Especially, the north-west axis was the baseline which divided into two large parts, a government office area and non-government area (housing and commercial street for the people). Finally, this paper examines that the road network of Jeju-Eupseong was the true result for the efficient function of the city, especially considering natural geographical conditions and environment of living of that time.

• 패션비즈니스
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• 제3권2호
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• Acta Via Serica
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• 제4권2호
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• pp.29-59
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• 2019

As 'a total social fact,' drinks and drinking may serve as a lens through which we can view a distant society. Although not frequently discussed, drinking vessels serve the same function for accessing a past world hidden or forgotten behind written records. The present article is an art history attempt to seek a cultural link between liquor vessels used in medieval Korea and the political and social change of the period. The Goryeo period (918-1392) saw an unprecedented abundance of drinking vessels in various forms and decorations. Goryeo artisans and craftsmen produced ewers, pitchers, flasks, bottles, and others in addition to the pre-existing shapes of vessels mainly consisting of jars and bowls. I argue that this sudden burst of creativity during the Goryeo period was closely related to Goryeo's constant and diverse contacts with foreign powers. Their zone of international connections was not confined to the Chinese world, as we have commonly presumed. Even before the Mongol intervention, Goryeo was in contact with regions beyond East Asia through the northern nomadic states. Khitan Liao was recorded as having worked as a kind of international intermediary to link the Chinese and Islamic worlds. This medieval global culture became a norm in Goryeo society when it became an important part of the Mongol Empire. These nomadic powers brought global trends to Goryeo, and foreign drinks were among them; kumis, araq, and grape wines are just three cases of them discussed in this article. The change of alcoholic drinks led to, or was accompanied by, a new range of drinking vessels. Three types of ewers, familiar to East Asian consumers but foreign in their origin, are discussed in the main text to highlight such social change. Three more cases of drinking cups are also presented. The article shows that medieval Korean society was far more open to international art and culture than our usual understanding, and in their drinking vessels, Goryeo culture embraced global trends reaching China, the Islamic world and Europe.