• 보존과학회지
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• 제25권2호
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• pp.219-231
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• 2009

본 연구는 대전에서 출토된 조선시대 초중기의 여산송씨가 출토복식을 보존처리함에 있어 출토복식의 세척처리 현황을 조사하고 본 출토복식의 세척과정을 보고하여 앞으로 출토복식의 세척방안에 대한 자료로 제공하고자 하는데 그 목적이 있다. 여산송씨 출토복식은 15세기의 남자복식과 16세기중후반의 남녀복식을 비교할 수 있는 좋은 자료가 되고 있다. 출토유물은 모두 184점이 출토되었으며 면, 견, 마, 교직물 등 다양한 직물이 있었다. 여산송씨 출토복식의 세척은 직물의 상태와 오염을 분석한 후 진공흡입에 의한 고형오염을 충분히 제거하고 습식세척과 건식세척방법을 시행하였으며 1, 2차로 진행되었다. 습식세척의 경우 음이온계 계면활성제(LAS)와 비이온계 계면활성제(Triton X-100)를 사용하였고 건식세척의 경우 n-hexane과 n-decane(4:6) 혼합용제 및 석유계 드라이클리닝용제를 사용하였다. 1차 세척 후 빠지지 않은 얼룩이 있는 면직물이나 마직물의 경우 표백처리를 실시하였으며 견직물 중 상태가 좋은 것은 유기용제에 의한 건식세척을 재실시하였다.

• 감성과학
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• 제21권1호
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• pp.99-114
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• 2018

색동은 고대부터 사용해 온 우리 고유 원단이며 다양한 색사를 경사로 사용하여 동일간격 세로 줄무늬가 반복적으로 나타나도록 평직, 수자직으로 직조한 것이다. 본 연구는 고대의 색동이 어떻게 발생하였고 그 의미가 무엇인지에 대해 고찰하였다. 연구방법으로는 선행논문 및 단행본, 학술지 등의 문헌자료, 박물관 자료, 신문과 사진 자료, 인터넷 검색 등을 이용하였으며 도자기, 금속공예, 무용 등 복합예술의 다양한 분야에서 나타난 고대문화의 연결고리를 고찰하였다. 또 조선족 자료와 일본의 아스카 문화 및 다카마스총의 고분벽화를 통해서 고구려, 백제의 흔적을 살펴 보았다. 색동은 즐거움, 기쁨, 경사, 하늘의 축복, 신령함, 바람, 풍작 등을 의미하며 우리 선조의 낙천적이고 긍정적인 정서를 표현하는데 구체적으로 살펴보면 첫째, 색동으로 나라와 가정의 경사와 즐거움, 기쁨의 감정을 표현하였으며 좋은 일이 반복되고 지속되길 기원하는 마음을 나타내었다. 둘째, 단아한 아름다움을 통해 질서, 평등, 조화를 상징한다. 셋째, 색동은 생명, 힘이며 신성한 존재로서 숭상된 하늘에 속한 신비스러운 새를 나타낸다. 넷째, 부와 풍요로서 비, 바람 또는 밭이랑을 상징한다. 조선족과 일본에 남아 있는 우리 한복과 색동의 경쾌하고 선명한 색사용을 통해 우리 선조의 자긍심과 정체성을 엿볼 수 있었다.

• 패션비즈니스
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• 제2권3호
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• 대한가정학회지
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• 제34권4호
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• pp.249-263
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• 1996

According to the design method for constructing the G gori(the traditional Korean jacket)collar, there are differences in form after its completion. In the construction design of the midsection of the gusset as in that of the basic G gori, not only was the positioning of the two sides of the collar not smooth, but also, when the collar strip was attached, there would be an imbalance on one side or the other so that it was difficult to achieve symetry. Therefore in this project, by applying the pattern design of the gusset midsection to that of the collar midsection, not only did attaching the collar and the collar strip create a visual effect by equalizing the lengths of the tow sides, but the construction was also easy. This method of construction introduces the three-dimensional aspect of the human form in its conic, spherical and cylindrical aspects, so that, through schematizing the scientific character of Korea's clothing, its appropriateness is verified. As a matter of fact, since th-ere in no standardization of pattern whether for educational use or for mass-produced clothing, so that even the patterns used in computer-assisted design are executed according to the designer's personal skill, the reality is that after completion of construction the quality has not been uniform. For this schematization, inverse calculation of measurements pertaining to the calculation formula and of teaching materials has been referenced. In particular, the partial requlation of the calculation formula pertaining to the basic pattern construction, the method of making the collar midsection, and the construction method of the extreme and mean ratio adjustment can be adjusted for all measurements, thereby providing the establishment of a design criterion and the possibility of the standardization of construction methods. The production method for the pattern design is as follows: 1) The conic angle for the G gori's girth, length and neck width is fixed at 70 degrees. 2) The radius of the cone is B/2. 3) The calculation formula is B/4 + 1.5cm 4) The armhole formula is B/4, the same as in the basic method. 5) The width formula is B/10. 6) The ratio of the collar junction(width of collar + width of collar strip)to the gusset length is 5:8. 7) The length of the side seam is a length intersecting the armhole line and the conic radius (B/2), that is an arc that exceeds the length of the G gori's midsection; the component ratio of this length to the collar junction is accordingly 13:5. 8) The curve frame length of the back midsection is an arc exceeding B/4(the armhole line). 9) The ratio of the sleeve opening calculation formula to the armhole length is 8:5, forming an arc with the midsection length.

• 한국가정과교육학회지
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• 제31권4호
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• pp.63-79
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• 2019

본 연구의 목적은 고등학교 교육 현장 실정에 맞춘 가정과 메이커 교육 프로그램을 개발하고 연구자가 구축한 의생활 메이커스페이스에서 실행해 가정과 메이커 교육의 효과를 평가하는데 있다. 연구 결과는 다음과 같다. 첫째, 고등학교 가정과 메이커 교육 모형을 설계하고 가정과 메이커 교육 프로그램을 개발하였다. 가정과 메이커 교육 프로그램은 메이커 교육 모형인 TMSI 모형과 Laster(1982, 2008)의 실천적 행동 수업 모형을 통합·수정하여 개발한 TPMS모형{팅커링(T: 4차시), 실천적 추론하기(P: 3차시), 함께 만들기(M: 4차시), 공유·확산하기(S: 1차시)}으로 총 12차시를 개발하였다. 개발한 가정과 메이커 프로그램의 주제는 '창의적인 전통 의생활 문화(한복)의 실천과 확산'이다. 둘째, 가정과 메이커 교육 프로그램의 효과를 알아보기 위해 온라인 설문조사를 실시한 결과, 학생들은 가정과 메이커 수업이 5점 만점에서 체험적(4.26), 인지적(4.22), 감성적(4.18), 사회적(4.18), 실천적(4.10) 순으로 긍정적 효과가 있다고 인식하였다. 본 연구가 1차 교육과정 시기부터 만들기 활동을 통해 다양한 교육적 목적을 꾀해온 가정 교과의 실습 교육에 기여가 되기를 기대한다.

• 한국컴퓨터정보학회논문지
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• 제25권6호
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• pp.183-191
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• 2020

본 연구에서는 커스터마이징 시스템 개발을 위한 신한복 치마 패턴 개발의 기초자료를 얻기 위해 신한복 브랜드의 치마 패턴을 비교 분석하고자 하였다. 신한복 6개 브랜드의 패턴을 분석하여 가상착의를 시킨 후 외관평가와 의복압 및 공극량을 평가하였다. 시판 신한복 브랜드 A, B, C, D, E, F의 허리치마 패턴을 분석한 결과, 같은 디자인의 free 사이즈 치마임에도 불구하고 각기 다른 치수로 제작되는 것으로 나타났다. 허리치마의 패턴은 기존의 한복과 같이 평면적인 패턴으로 구성되었다. 외관평가 결과 앞면, 옆면, 뒷면 모든 평가항목에서 6개 브랜드의 패턴 간에 유의미한 차이가 있는 것으로 평가되었다. 외관평가 모든 항목에서 B 브랜드의 허리치마가 우수한 것으로 평가되었다. 의복압을 알아보기 위해 색분포도와 공극량을 살펴본 결과, 허리에 둘러서 착용하는 허리치마의 특성상 대부분의 부위에서 공극량이 큰 것으로 나타나 의복압이 낮은 것으로 평가되었다. 본 연구에서는 신한복 활성화에 따른 치수 및 패턴 규격화를 위한 기초자료를 제안하며, B브랜드 패턴을 기본으로 한 통일된 패턴개발이 이루어져야 할 것으로 생각된다.

• 한국전자거래학회지
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• 제27권1호
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• pp.29-41
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• 2022

1995년 역사적 첫 배너광고 판매 거래 이후 전자상거래는 명실공히 새로운 유통채널로 자리매김 하였다. 20년 이상의 역사 속에 소비자의 자연스러운 소비 습관이 되어 경험 부족은 더 이상 전자상거래의 발전을 늦추는 이유가 될 수 없게 되었고, 그 규모를 계속 확장하며 이제 기존 유통채널을 위협하는 존재로 성장하였다. 하지만 이러한 전자상거래 시장의 지속적인 성장에도 불구하고, 자산 특유성이 높거나 설명 복잡성이 높은 상품의 경우, 소비자가 상품의 품질을 검증하는 것이 제한적일 수밖에 없는 전자상거래의 한계로 인해, 온라인 시장으로의 진출 및 확장은 힘들 것으로 여겨져 왔다. 특히, 이러한 조건 하에서 기존 사용자에 따라 품질의 차이가 많이 나고 설명 난이도가 높은 중고품의 온라인 거래 활성화는 거의 불가능한 것으로 여겨져 왔다. 중고품의 경우 상품에 대한 많은 정보를 가진 판매자 대비 정보를 많이 가지지 못한 구매희망자 간 정보 비대칭성으로 더욱더 시장의 성립이 힘들 수 있다는 것이 또한 온라인 중고거래에 대해 부정적인 시선을 갖게 하는 이유이다. 하지만, 본 논문에서 이와 같은 한계를 인공지능(AI)에 기반한 동적 가격 분석과 예측을 통해 문제 가능성을 최대한 낮춤으로써 극복하고, 품질 평가 표준화를 통하여 전자상거래 최고 거래 난이도의 중고 의류소매업에 전례 없이 성공한 thredUP의 사례분석을 통해 전자상거래, 특히 온라인 중고거래의 향후 발전 방향과 가능성을 제시하고자 한다.

• 복식
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• 제56권1호
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• 패션비즈니스
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• 제2권1호
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• pp.71-75
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• 1998

The Miaos who is the minority people mainly living in the southwestern part of China, expressed their indicator and solidarity through the costume in order to maintain their racial character while experiencing numerous adversities over thousands of years, where the costume has served as a source of cohesion as well as a primitive religious thought, and also showed their faith, desire, longing and aspiration. This study examined the Miao's traditional costume by classifying it into the following; hair style, headdress, upper and lower garments, and other costume. And the silver ornaments used for attire and their symbolic meaning were examined. The result of the study is summarized as follows. 1. The reason that types of the costume has been diversified is because there was promise of ancestors who intended to differently express the type of a kind as symbol of the racial branch that is the Miao's special type of society. Thus, the costume type could tell where a tribe live. Another reason is because only marriage between families with different surname but the same type of costume was accepted. 2. As women made and wore the costume themselves, it also served as a means of being proud of their skill or wealth, they tried to make it more beautiful and it was also used as a token of marriage or love between relatively enlightened men and women. 3. The design used on the costume was expressed as a symbolic meaning of indicator to strengthen the racial solidarity because it connoted worship to ancestors who had experienced lots of adversities. 4. The hair style was expressed in various styles by using Kache such as Chukye, Byunbal and Kokye. It is likely that ornaments used on the head of women in the form of cow's horn or silver crown were used as one of the methods to stress the valuableness of the cattle that were essential to agricultural life. In addition, various styles of turbans were used to indicate the respective regions. 5. Cock's feather ornaments or silver ornaments in the form of pheasant's feather on the edge of women's skirts, peasant's feathers that men wore on their head, or Baekjoui and men wore resulted from the Miaos' thought of adoration for birds, which implied a primitive religious meaning. 6. As the region where the Miaos live yields much silver, the silver ornaments were mostly used to be proud of wealth, which symbolized light and pureness.

• 복식
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• 제19권
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.