금관가야 여자 머리 장신구의 유형과 착용모습 일러스트 제안

이주영 한복문화학회 2022 韓服文化 Vol.25 No.2

This study aimed to present illustration images of Geumgwan Gaya's queen, noble women, or ordinary women who wear hair accessories. This study categorized women's hair accessories in Geumgwan Gaya, focusing on literature and excavated artifacts related to Geumgwan Gaya, and proposes illustrations of queens, nobles, and commoners wearing hair accessories. Eleven women's hair accessories were excavated from the Geumgwan Gaya ruins, including two combs, five comb-shaped accessories, and four binyeo pieces. The combs and binyeo pieces of the Geumgwan Gaya ruins are significant. They are relics that prove that comb and binyeo were widely used in the northwestern region of the Korean Peninsula and the central and southern regions. Since the overall appearance is similar to that of a bird, it is presumed that the view of the bird of the ancients was reflected in the comb-shaped decorations. The queen's headdress was exemplified by referring to the comb and a piece of binyeo excavated from the 25th tomb of Jeopo-dong, Hapcheon, currently stored in the Leeum Museum. The comb and the binyeo were represented, respectively, made of bone and gold in the imaging process. Both accessories were put into the middle of the hairs, which were done in a chignon to be seen from the front. Hair accessories for noble women or their female servants were illustrated hereafter comb-shaped accessories made of bone uncovered from Daeseong-dong Ancient Tomb No. 88. The accessories are imaged differently depending on those women's social status. More specifically, the study illustratively depicted hair accessories for noble women so that they appeared made of lacquered bone and decorated with gilded silk threads and gilded beads. In contrast, those for female servants were expressed here to be seen made of bone and beautified with lacquered silk threads and little beads. Meanwhile, this study had some limitations because it illustrated decorative hair accessories worn by the queen, noble women, and ordinary women only based on one image for each social status. .

고전머리와 고전머리장식에 대한 인지도 및 현대화 작업의 필요성

노영희 ( Young Hee Noh ),진정화 ( Chung Hwa Chin ) 한국미용학회 2013 한국미용학회지 Vol.19 No.6

This study set a survey targeting 258 of adults with diversity to inquiry the awareness of classic hair and accessories and the necessity of the modernization task. The results are followed: People`s interests and knowledge about the classic hair was low; however, 86.7% of respondents have seen the hair and the experience were reached through TV. Also, 79.5% of respondents have never worn it before and they showed low interests towards the classic-hair accessories. 76.7% emphasized the needs for the modernization task and 71.6% had intention to try the modernized classic hair. When the people were asked to give opinions about the modernization task of classic hair, they showed similar views such as 94.9% of ‘the classic hair has promotion effects of Korean beauty’, 91.4% of ‘professional education for classic hair is needed’ and 91.9% of ‘accessories for the classic hair needs modernization’. From this study, we could find about people`s awareness, interests, and intention to use the classic hair and accessories. Since the classic hair and the accessories have not exposed to the public much, people had less opportunity to have interests and the popularization did not happened much yet. If the classic hair and accessories become known among public and modernized for easier use, it will contribute to developing hair styles and introducing Korean beauty. In later study, we will need to study further on more detailed modernization process and more PR measures.

고구려 고분벽화의 성별분류와 여성두식 연구

김연수(Kim Yeon Soo) 고구려발해학회 2015 고구려발해연구 Vol.53 No.-

본 논문은 고구려 고분벽화에 나타나는 인물의 성별분류 기준을 모색하고 그로인해 판별되는 여성의 두식문화에 대하여 고찰한 글이다. 고구려 고분벽화에는 다양한 두식의 형태가 존재하는데, 그중에서도 여성의 두식문화를 연구하기 위해서는 고구려 시기의 여성 모습에 대한 개념이 우선적으로 정립되어야 한다. 이때 여성의 모습을 정의하기 위해서는 여성과 남성을 구분하는 성별 분류체계가 필요하며, 이에 필자는 성별분류기준을 크게 네 가지로 구분하여 여성을 선별하고자 하였다. 첫째, 복식의 종류로서 치마, 바지, 그리고 고구려 고분벽화에 자주 등장하는 겉옷인 ‘포(袍)’를 그세 조건으로 삼았다. 둘째, 생리조건으로, 사춘기가 지난 남성에게서만 발견할 수 있는 신체적 특징인 콧수염과 턱수염을 주요한 성별 기준으로 두었다. 셋째, 두식의 형태이며, 이는 첫째, 둘째 조건에 더하여 성별의 특징을 부각시켜주는 기준이라고 할 수 있다. 넷째, 그럼에도 여전히 인물의 성별이 분명하지 않을 때, 주변에 있는 인물과의 얼굴선, 체구 등의 비교를 통한 분류 방법이다. 이처럼, 첫째 기준부터 순서대로 적용하면, 벽화가 박락되어 얼굴이 보이지 않거나, 주변 인물들과의 유사성을 찾을 수 없는 경우를 제외하고는, 인물의 성별을 최대한 분류할 수 있을 것으로 보인다. 고구려 벽화에 나타나는 여성의 발양과 두식의 특징을 살피기 위해 평양과 집안의 고분벽화를 토대로 분석하였으며, 이때 인물들이 많이 등장하는 4세기 중엽에서 5세기 후반까지의 생활풍속을 주제로하는 벽화고분 중에서, 평양지역 4기와 집안지역 4기를 임의로 선정하였다. 평양지역 고구려 고분벽화로는 안악3호분(357), 덕흥리벽화고분(408), 수산리벽화고분(5C후), 쌍영총(5C후)을, 집안지역으로는 각저총(5C초), 무용총(5C중), 장천1호분(5C중), 삼실총(5C중)을 택하여, 각 벽화별로 여성의 발양과 두식의 특징을 살펴보았다. 그리하여 성별분류기준에 의해 구분된 여성을 대상으로 발양과 두식을 살펴본 결과, 첫째, 머리모양인 ‘발양(髮樣)’과 둘째, 머리에 쓰는 ‘쓰개’, 셋째, 장신구의 ‘수식(首飾)’ 세 부분으로 나눌 수 있으며, 각각 10종류, 3종류, 3종류로 나타났다. 또한, 기존연구에 더해 새로 추가한 발양에는 변형고계(變形高髻), 변형상투, 당고머리, 묶은 긴머리가 있으며, 이때 각 발양과 두식의 종류마다 필자가 직접 그린 모사도를 추가하여 이해를 돕고자 하였다. 이에 더하여 고분에 등장하는 총 인물수와 여성인물의 수 및 여성들이 위치해있는 장소와 추측되는 신분, 그리고 그들이 하고 있는 두식과 발양의 종류 등을 헤아리고 이를 통하여 각 고분의 이해를 넓히고자 하였다. This is a thesis considring the women’s balyangs(髮樣) and dusiks(頭飾) seen in the mural paintings of the Kokuryo ancient tombs. there are various balyangs(hair styles) and dusiks(hat and hair accessories) seen in mural paintings of Kokuryo ancient tombs. In order to study women’s balyangs(hair styles) and dusiks(hair accessories) among them, the concept of woman’s appearance in Kokuryo age should first be defined. For defnining a woman’s appearance of this age, it needs a classification system dividing the woman and the man, so the author intended ot divide the gender clasification standard into largely four categories in order to sort out the woman gender. First, as the clothe types, Second, as the physical conditions, third as the shpes of dusiks(hair accessories) and balyangs(hair styles), Fourth standard was the comparision against other person(s) in mural paintings. So as the results from investigating the balyangs(hair styles) and the dusiks(hair accessories) of women who were divided by the above mentioned genderclassification standards, there found total 10 kinds of balyangs(hair styles) and total 8 kinds of dusiks(hair accessories) in this study. As the balyangs(hair styles) being added in this study to those found in existing studies, there were byeonhyunggogae(變形高髻), byeonhyung sangtu(transformative hair-topknot), dango hair style, the long pony tail, and as a new dusik(hair accessory), there was the chaek(幘). In the section, the author intended to help the audience’s understanding about these new balyangs(hair styles) and dusik(hair accessory) by adding every kind of balyang and dusik replicas directly pictured directly by the author. Kokuryo women’s feautres of balyangs(hair styles) and dusiks(hair accessories) were analyzed with the mural paintins of 8 Kokuryo ancient tombs in Pyongyang and Jipan which were randomly selected (Pyongyang: No 3 tomb in Anak, Mural Tomb in Deokheungri, Mural Tomb in Susanri, and Ssangyongchong; Jipan: Gakjeochong, Muyongchong, No 1 tomb in Jangchun, Samsilchong). Besides, this thesis inserted a table being composed to grasp the number of total figures, the number of women figures, the women’s places and their guessed classes and the kinds of their dusiks(hair accessories) and balyangs(hair styles) at a glace, and also processed the statistical analysis and investigated the featues of dusiks(hair accessories) by each ancient tomb.

구스타프 클림트의 작품을 응용한 헤어 장신구 디자인

김현진 ( Kim Hyun-jin ),김성남 ( Kim Sung-nam ) 한국디자인트렌드학회 2014 한국디자인포럼 Vol.43 No.-

아르누보(Art Nouneau)의 주도적 역할을 하였으며 상징적이고 장식적이며 신비롭기까지 한 구스타프 클림트(Gustav Klimt)의 회화는 현재까지도 대중들에게 폭넓은 인기를 누리고 있다. 그는 아름다운 곡선과 기하학적 형태로 원과 사각, 삼각을 이용하여 화려하면서도 장식적인 작품을 제작하였다. 이러한 그의 작품들은 의상디자인, 패키지 디자인 등의 다양한 디자인 영역에 아이디어를 제공하고 있다. 본 연구에서는 구스타프 클림트의 작품 세계를 고찰하고 그의 작품에 나타난 상징주의적이고 아르누보적인 패턴을 변형, 생략, 재구성하여 헤어 장신구에 접목시킴으로써 헤어 장신구 표현의 다양성을 모색하고 나아가 미용예술 분야 중 헤어 작품의 완성도를 높이는 헤어 장신구를 개발하였다. 클림트와 헤어 장신구에 관한 이론적 연구는 국내 외 선행논문과 문헌 등을 중심으로 고찰하고, 작품제작으로는 클림트의 미적특성을 대표하는 작품을 1점씩 선택하여 이를 모티브로 총 4점의 일러스트레이션과 헤어장신구로 제작한 작품 4점을 제시하였다. 작품Ⅰ에서는 < 생명의 나무, Tree of Life >를 모티브로 일러스트레이션과 나선형의 헤어핀을 제작하였고, 작품Ⅱ에서는 < 기다림, Expectation >을 모티브로 일러스트레이션과 함께 삼각핀을 제작, 작품Ⅲ에서는 < 성취, Fulfillment >를 모티브로 일러스트레이션과 원형의 헤어핀을 제작하였다. 마지막으로 작품Ⅳ는 < 여성의 세 시기, Three Ages of Woman >를 모티브로 일러스트레이션과 함께 사각형태의 헤어핀으로 제작하였다. 또한 그의 화려한 금빛 색조를 표현하기 위하여 황동을 소재로 하여 장식적이며 예술성 있는 헤어장신구를 제작하였다. The paintings of Gustav Klimt, which have played a leading role in Art Nouveau and are symbolic, decorative, and even mystic, have enjoyed a wide public popularity to date. Using beautiful curves as well as circles, squares or rectangles, and triangles in a geometric form, he created brilliant yet decorative works. These works have offered ideas in various design fields including fashion design and package design. This study aims to seek variety in the expression of hair accessories by considering the world of Gustav Klimt`s works; transforming, omitting, and restructuring symbolic and Art Nouveau style patterns shown in his works; and applying them to hair accessories. Furthermore, it aims to develop hair accessories that raise the degree of perfection of hair works in the beauty art field. Regarding theoretical research into Klimt and hair accessories, the study considers this focusing on existing papers and literature at home and abroad, and selects one piece of each of the representative works in terms of the aesthetic characteristics of Klimt; thus, it proposes a total of 4 pieces along with illustrations. In workⅠ, the study prepares a hair pin with the motive of “Tree of Life”, while in work Ⅱ, the study prepares a triangular pin with the motive of “Expectation”. Meanwhile, in work Ⅲ, the study prepares a circular hair pin with the motive of “Fulfillment”. Finally, in work Ⅳ, the study prepares a square hair pin with the motive of “Three Ages of Woman”. In order to express his brilliant golden hue, the study prepares decorative and artistic hair accessories with the use of brass.

왕실 머리장식을 응용한 헤어 액세서리 디자인 개발

유진영,김지연 국제문화기술진흥원 2023 The Journal of the Convergence on Culture Technolo Vol.9 No.5

The recent trend in younger generations of wearing traditional costumes or incorporating fusion hanbok into daily wear necessitates the development of modern hair accessories to complement hanbok. The purpose of this study is to develop practical and modern hair accessory designs inspired by royal women's hair ornaments that complement hanbok, and therefore expand the scope of fashion content development utilizing hanbok culture as well as meeting the demand for various experiences of traditional culture. This research studied the literature on traditional hairstyles and accessories of Queen Yeong and constructed models of these accessories for the purpose of empirical research. The production process first required creating a basic foundation of nylon mesh reflecting the silhouette of a traditional hairstyle, and then grafting a digital textile printed fabric using majestic and extravagant royal relics on top, thus employing the trompe l'oeil technique to ultimately give the impression of wearing traditional jewelry. As a result, a total of six hair accessory designs were completed, produced with hairbands, hair pins, and hair ties. In addition, the accessories are designed to be easily worn regardless of the wearer's hair style, and the stiff yet flexible nylon mesh effectively expresses the shape of a voluminous hairstyle and creates an optical illusion, blending into the hair. These research results present a unique aesthetic and cultural experience to the greater public seeking both daily entertainment and value from rarity.

日本女性의 頭髮樣式 및 裝身具에 관한 연구

김지연(Ji Yuon Kim),황승민(Seung Min Hwang) 한국인체미용예술학회 2010 한국인체미용예술학회지 Vol.11 No.3

The Taisho era in Japan which had caused the various changes from many sources in politics, society and culture, had risen to the interest about the education and human right of woman and had arisen to the terminology meaning the new woman in education society. Besides, popular culture was formed by radio and movie and so on, and it was greatly influenced on the hair style and accessories of woman. In this study, we investigates the characteristic of hair style and accessories in woman of Taisho era and considers about the beauty consciousness of woman in Taisho era. It is able to classify two styles as the traditional woman and the new woman in the hair style of woman. The hair style of new woman is also able to classify to hair style effected on advanced education and modernization, and hair style effected on popular culture of movie and woman magazine and so on. It is found about the beauty consciousness of woman in Taisho era through the hair style and accessories. The hair style of traditional woman and new woman shows the traditional beauty and exaggerative beauty which are emphasizing the Mage and the volume. In addition, the hair style of new woman effected on popular culture shows the freewheeling hair style and the curvaceousness which is emphasizing the wave.

3D펜을 활용한 헤어 액세서리 연구

한지은 ( Ji-eun Han ),이순희 ( Soon-hee Lee ) 한국미용예술경영학회 2015 미용예술경영연구 Vol.9 No.3

The purpose of this study is to suggest the plan of using 3D pen by investigating and using its case of application, kind, material and how-to-use and producing hair accessories and apply them to actual hairs and willing to be the basic data that is capable of creative hair design by using 3D pen. Total 4 kinds or accessories were completed in this study by designing, sketching and gluingthem with 3D pen. As 3D printer has been researched by becoming merged with various fields such as food, health care, fashionand architecture since it appears, however, there is no research case in the field of beauty care. The purpose of this research is to suggest the plans of producing and utilizing air accessories that the public can face easily using 3D pen that is cheaper than 3D printer now that 3D printer is expensive and not much known to the public and anyone can use without professional knowledge and find the possibility of new development through the fusion between 3D printing and beauty care. So, this research is willing to look through case of application, kind, material and how to use of the printer and produce the work that can be applied to real hair by producing hair accessory. Headband, hair pin, fine pin and ornamental hairpin were selected as the kind of accessory. As the results, the accessories that wereproduced by 3D pen could be used actually and it was judged that ordinary people can produce the works easily without specific design or knowledge. In conclusion, 3D pen would be capable of producing the creative and unique beauty care works and creating new idea. So, a number of beauty care works should be researched to promote 3D pen and it is expected that it would develop along the flow of the time as beauty tools or study of work production that uses the high level of 3D printing not only 3D pen furthermore.

머리카락으로 표현된 재활용 디자인 및 표현기법에 관한 연구

김진숙(Jin-Sook Kim),유민정(Min-Jeong Yu),이수희(Soo-Hee Lee) 한국인체미용예술학회 2012 한국인체미용예술학회지 Vol.13 No.2

A haircut, one of the ways to express one’s beauty, generates waste, which is hair. Hair is classified as domestic waste and buried, incinerated, or dumped in the sea in that order. Hair waste is generated less than other types of waste, but its quantity has continuously increased. The research studied meanings of recycled hair in modern art and modern fashion, analyzed expression methods of the design works expressed with recycled hair, and made accessories by collecting photo data from websites, newspapers, hair magazines, graduation projects of the beauty universities, and exhibitions both home and abroad, and by recycling hair waste.

화문 단청문양을 응용한 전통 헤어 장신구의 현대적 표현

이현주(Hyun Ju Lee),김성남(Sung Nam Kim) 한국디자인문화학회 2013 한국디자인문화학회지 Vol.19 No.2

한국의 단청은 우리 민족의 감성과 정서가 담긴 아름다운 색채와 조형감각이 돋보이는 역사적, 문화적으로 가치 있는 유산으로 단청의 다양한 문양과 배색기법 및 조화원리는 세계적으로 그 가치를 높이 평가 받고 있다. 최근 한국적 전통문양 및 문화에 대한 관심은 많지만 단순한 소재만을 디자인으로 적용하는 경우가 많고 현대적이고 세계적인 감각으로 발전해 나가지는 못하고 있는 실정이다. 따라서 전통의 형태를 모방하는 것이 아닌 단청문양의 특징을 현대적이고 세계적인 감각으로 연구 개발하는 것은 다양한 디자인 개발과 함께 소비자의 관심을 이끌어내는 요소가 될 수 있을 것이며 우리 민족의 감성과 정서를 현대적인 감각의 헤어 장신구로 표현하는데 있어서도 훌륭한 매개체가 될 수 있다. 고전머리에 사용되는 헤어장신구는 시대에 따라 다양한 형태나 재료를 이용하며 변화되어 왔으며 현대에 이르러서는 옛 문헌 그대로를 재현하기도 하고 현대적으로 재해석하기도 하여 그 디자인이 다양하게 변화되어지고 있다. 따라서 본 연구는 단청문양의 개념 및 기본요소를 알아보고 화문 단청문양의 형태를 변형, 생략하고 재구성하여 새로운 현대적 이미지를 정립, 전통 헤어 장신구에 접목시켜 다양한 전통 헤어 장신구 표현의 가능성을 모색하고 현대적 이미지를 발견하는데 그 목적을 두고자 한다. 이와 같은 목적으로 개발되어진 화문 단청문양을 응용한 전통 헤어 장신구 디자인이 어느 나라의 전통 문양과 견주어도 뒤지지 않는 한국만의 독특한 아름다움이 있고, 민족의 독자성과 전통문화가 담겨있는 문화적 가치를 지닌 장신구 디자인이 될 수 있을 것으로 본다. 연구방법은 단청문양과 헤어 장신구에 관련된 선행 논문과 문헌 고찰을 토대로 이론적 배경을 구성하였고 화문 단청문양의 연꽃, 국화, 태평화, 모란문양을 응용하여 문양의 이미지를 형상화하고 전통 헤어장신구 디자인에 접목시켜 작품으로 제작하였으며, 전통 헤어 장신구의 종류는 비녀와 뒤꽂이로 정하였다. 또한 나아가 한국 전통 단청을 통해 우리 민족의 독특한 매력을 느낄 수 있는 독창적이고, 아름다움과 미적 조형감각을 현대감각에 어울리도록 문양을 변형 또는 재배치 시켜 소재와 어울리는 이미지를 표현하여 전통 헤어 장신구의 표현 영역을 확대하고자 함과 동시에 세계적인 감성을 아우를 수 있는 디자인으로 발전이 있기를 기대 해 본다. Dancheong is a historically and culturally valuable heritage of Korea that features beautiful colors and formative senses while reflecting national sentiment and emotions. Therefore, the value of the various patterns and coloration techniques and the harmonic principle of dancheong are highly evaluated throughout the world. Despite the recent great interest in traditional Korean style patterns and culture, in many cases only simple materials have been applied as designs; thereby, dancheong has not been advanced in a contemporary and world-class sense. Consequently, research and development of the characteristics of dancheong patterns in line with contemporary and world-class ideas instead of imitating the traditional form along with the development of diverse designs will be a factor to attract the attention of consumers. Also, dancheong patterns can be an excellent medium for expressing national sentiment and emotions as contemporary hair accessories. Hair accessories used for classical hairstyles have been transformed using various forms or materials according to the period. Entering this age, their design has changed diversely, while they have been reproduced without modification according to old documents or they have been reinterpreted from a contemporary viewpoint. As a result, this study aims to seek the possibility of having various expressions of hair accessories and to discover their contemporary images by looking into the concept and types of dancheong patterns and transforming, omitting, and restructuring the forms of dancheong patterns, and establishing a new contemporary image; thereby applying it to traditional hair accessories. It is expected that traditional hair accessory design applied with dancheong patterns that have been developed with this aim will show the unique beauty of Korea as well as being comparable to the traditional patterns of any country and become an accessory design with a cultural value reflecting the independency and traditional culture of the Korean people. For research methods, the study used existing theses regarding dancheong patterns and accessories as well as a literature review; thereby, a theoretical background was formed based on this information. Then, the study formed the images of the patterns by utilizing the lotus of hwamun dancheong patterns, chrysanthemums, taepyeonghwa (petals and leaves patterns), and peony patterns, applied them to accessory designs, and created works using them. Also, the study determined as the types of traditional hair accessories binyeo (traditional Korean ornamental hairpin) and a chignon ornament. Furthermore, the study expressed the images of accessories that match materials by transforming or relocating patterns so that their original, beautiful, and aesthetic formative sense might match a contemporary sense from which the unique attractiveness of the Korean people can be discovered through traditional Korean dancheong. With this, the study expects that the design will advance into a design that may expand the expressive area of traditional accessories and embrace world-class sensibility.

전통보문(寶紋) 헤어피스를 활용한 짧은머리 업스타일 연구

양철기,도주연 한국인체미용예술학회 2017 한국인체미용예술학회지 Vol.18 No.2

This study aimed to design hair pieces and ornaments which symbolize good luck using Yeonhwamun (lotus pattern) from Buddhist Bomun (traditional motif), Bomun, Wajammun, Jeonbumun, Bounmun, Bojumun and Manjamun from Jap-bomun (eight treasures) among traditional Bomun patterns and create diverse updos for short hair for a party or wedding. It also attempted to develop hairpieces and ornaments by examining their feasibility as cosmetology products through image factor analysis. First, this paper intended to express outward beauty and auspicious meaning of the patterns by using hairpieces symbolizing Obangsaek (the color scheme of the five traditional Korean colors) from traditional Bomun in creating updos for short hair. Second, traditional Bomun-patterned hairpieces and ornaments were used in creating updos for short hair for special events such as a party and wedding. It was possible to create diverse hairstyles depending on hair length, using updos’ design techniques, C-curl and S-save. Third, according to a sensory test on updos for short hair using hairpieces and ornaments, the first factor was design, and the second factor was practicality. Analysis of hairpiece and ornament images by age has found that ‘50-60s’ revealed higher scores than ‘30-40s’ in both Yeonhwamun and Jap-bomun. In addition, satisfaction was higher when updos were created by attaching hairpieces and ornaments.