The influence of traditional values on the development of fashion in Bali

Arumsari, Arini,Sachari, Agus,Kusmara, Andryanto Rikrik The Costume Culture Association 2019 服飾文化硏究 Vol.27 No.3

Fashion as a field of cultural studies is a very complex field that is very interesting to discuss, especially in Indonesia as the very rich country in cultures and past traditions. This research will discuss the development of fashion in Bali, one area that is opulent in its cultures. Based on the research conducted by today's fashion development, Bali is still strongly influenced by factors inherited from traditional values that exist in the Balinese culture. This research is conducted by applying the qualitative method with the ethnography approach to unravel any factor in Bali so that it becomes the foundation and triggers the rapid development of fashion by still maintaining the values of the tradition. Considering that the values of tradition as a whole have a good impact on the preservation of the natural balance and various factors that exist in society, whether these factors still exist in other regions of Indonesia and they are possible to be developed in various regions of Indonesia. So hopefully the development of fashion in Indonesia as a whole can maintain the local content that characterizes the Indonesian Nation and have a positive impact on the balance of nature and also to the community in Indonesia and the world culture.

The influence of traditional values on the development of fashion in Bali

Arini Arumsari,Agus Sachari,Andryanto Rikrik Kusmara 복식문화학회 2019 服飾文化硏究 Vol.27 No.3

Fashion as a field of cultural studies is a very complex field that is very interesting to discuss, especially in Indonesia as the very rich country in cultures and past traditions. This research will discuss the development of fashion in Bali, one area that is opulent in its cultures. Based on the research conducted by today’s fashion development, Bali is still strongly influenced by factors inherited from traditional values that exist in the Balinese culture. This research is conducted by applying the qualitative method with the ethnography approach to unravel any factor in Bali so that it becomes the foundation and triggers the rapid development of fashion by still maintaining the values of the tradition. Considering that the values of tradition as a whole have a good impact on the preservation of the natural balance and various factors that exist in society, whether these factors still exist in other regions of Indonesia and they are possible to be developed in various regions of Indonesia. So hopefully the development of fashion in Indonesia as a whole can maintain the local content that characterizes the Indonesian Nation and have a positive impact on the balance of nature and also to the community in Indonesia and the world culture.

The Face of Traditional Cloth Tradition of Tuban Society, East Java, Indonesia

( Fajar Ciptandi ),( Agus Sachari ) 복식문화학회 2018 Fashion, industry and education Vol.16 No.1

Tuban area in East Java, Indonesia, has a role as one of international ancient trading ports since 11th century. For that role, Tuban has accepted many foreign cultures that are brought by other nations, such as Tionghoa and Gujarat. The improvement of Tuban that involves international relationship clearly influences the forms of tradition and culture that is shown in Tuban nowadays. It is believed that from those tradition and cultures owned by people of Tuban, producing cloth is one of the oldest tradition maintained by the people. Those clothes, as one of traditional products, have unique identity that differ them to other regions. It is because the uniqueness of people’s knowledge about cosmology concept, and skill owned by the people that passes through generations. This research explains the condition of traditional cloth tradition of Tuban society with fundamental ground data and explains elements that intervenes the tradition, and forms resulted from it.

현행 삼베수의의 등장배경 및 확산과정 연구

최연우(Choi Yeon-Woo) 한복문화학회 2017 韓服文化 Vol.20 No.2

Currently, the hemp cloth[麻布] shroud is firmly established in the tradition culture under the name of ‘original tradition of Korea’, and the original traditional Korean shrouds using the high quality fabric are in danger of disappearing. Therefore, this study examines the process of establishing and spreading the hemp cloth shroud in modern Korea and its background. The results of the study are as follows. The Imperial Japan had a desire to complete the imperialist state by occupying the Chinese mainland on the basis of Joseon after forcing Joseon to be occupied in 1910. For this, the people of the colony Joseon cultivated a sense of cultural inferiority to guarantee the cause of the rule of government and, on the other hand, tried to lay the foundations for economic revival and war preparations for Japan through detainment of resources in the Joseon Dynasty. Among the many systems and regulations enacted by the Imperial Japan government for effective governance and detention, there was the use of the hemp cloth shroud. It seems that the hemp cloth shroud was completely rooted in the Joseon society while the Imperial Japan forcibly imposed the hemp cloth shroud policy. This phenomenon continued even after the Liberation in 1945, and it has already spread considerably in the 1960s. In the 1980s and 1990s, the proliferation of funeral industries and the influx of Chinese products enhanced the trend to become completely universal. As described above, the hemp cloth shroud, which was worn to reveal the prisoner in the Joseon dynasty, emerged as a means of realizing the colonial policy during the Imperial Japan colonial period. In the process of its spreading to the present, the distorted myths (俗說) about the hemp cloth shroud and other material shrouds come to appear. That was an attempt to justify the use of the hemp cloth shroud at the time, which eventually led to a culture of rejecting other material shrouds. Although the myths advocating hemp cloth shroud is all unfounded and inconsistent with the phenomenon that is actually happening, the hemp cloth shroud culture has become a solid background for sustaining the culture.

한국 고대 직물용어의 문제와 우리말 용어화의 길찾기

朴仙姬(Park Sun-hee) 비교민속학회 2004 비교민속학 Vol.0 No.27

Terminologies for ancient textile fabric which were used in the documentary records have a great limitation because the term itself does not display any explanation or characteristic about Korean textile fabric since we have borrowed the terminologies from the Chinese. Until today, these Chinese terminologies have been used for Korean textile fabric without any critique or proper analysis on the structure of the terminologies. So it is considered as if there is no difference between the Korean textile fabric and the Chinese textile fabric. From the studies on textile fabric, lack of information on the history prior to the Era of The Three Kingdoms made a misconception that studies on ancient Korean textile fabric had started in the Era of The Three Kingdoms. In the Era of The Three Kingdoms, Korea actively had contact with China, the northern regions and Japan. Therefore, there was a presupposition in the traditional studies on textile that the material and the style of textile fabric used in the Era of The Three Kingdoms have been imported from or have been affected by China and the northern regions. Under the above circumstances and without comparing the Korean textile fabric to those of China and the northern regions from the prehistoric age to the Era of The Three Kingdoms, a mistake was made by progressing the studies based on a wrong assumption that Korean textile fabric was affected by China and the northern region. Therefore, the terminologies that we borrowed from the Chinese letters were used without any rejection as if these terminologies were originally from the Korean letters. The biggest problem was that after the Gochos?n dynasty collapsed, Koreans adopted foreign culture as an ideology for guidance according to the will of the ruling class in the process of introducing foreign culture to Korea at the end of every single era. Thus, as time went by, the culture of textile fabric was disregarded as despicable in traditional Korean culture. As a result, the traditional terminologies used for textile fabric and the traditional produces were substituted for foreign textile terminologies and products. This cultural structure kept away the opportunity for traditional culture to exchange stimulation and impact with the foreign culture, and it blocked the way of creating new culture. Korean traditional culture did not act as the fundamental ideology and the foreign culture on the supplement but vice versa. Based on these issues, there is an analysis on traditional leather produces and textile fabric, and a translation of the Chinese terminologies for leather, woolen fabric, hemp cloth, cotton cloth and silk into Korean. The Chinese terminologies were satisfactory and familiar to the Koreans for a long time, therefore simple and accurate Korean terminologies are considered unfamiliar and awkward. Moreover, these Korean terminologies will not easily be adopted as technical terminologies and not widely used as everyday language. However, if there is an academic justification that using Korean terminologies is desirable, then this operation would not be denied. Therefore, we should not stop working on the development of easy and simple Korean terminologies. This is the way to save the subjectivity of our culture and the way to develop Korean education.

The Face of Traditional Cloth Tradition of Tuban Society, East Java, Indonesia

Ciptandi, Fajar,Sachari, Agus The Costume Culture Association 2018 Fashion, industry and education Vol.16 No.1

Tuban area in East Java, Indonesia, has a role as one of international ancient trading ports since 11th century. For that role, Tuban has accepted many foreign cultures that are brought by other nations, such as Tionghoa and Gujarat. The improvement of Tuban that involves international relationship clearly influences the forms of tradition and culture that is shown in Tuban nowadays. It is believed that from those tradition and cultures owned by people of Tuban, producing cloth is one of the oldest tradition maintained by the people. Those clothes, as one of traditional products, have unique identity that differ them to other regions. It is because the uniqueness of people's knowledge about cosmology concept, and skill owned by the people that passes through generations. This research explains the condition of traditional cloth tradition of Tuban society with fundamental ground data and explains elements that intervenes the tradition, and forms resulted from it.

한국 전통 보자기와 사물인터넷의 가변적 특성에 관한 연구

윤우중(Yoon, Woojoong) 한국디자인지식학회 2015 디자인지식저널 Vol.34 No.-

본 연구는 컨버전스 시대의 결과물인 사물인터넷 중 웨어러블 디바이스와 한국 전통 보자기를 가변적 형질로 비교하여 상호간의 유사성에 대해 살펴보고자 시도 되었다. 연구방법은 가변성의 상황에 따른 조건의 변형으로 형태에 따른 기능 변형의 변환(transformable), 형태 변형의 전환(convertible), 환경반응성 변형의 변이(variable), 디자인 교체를 통한 변형의 교체(changeable), 조작에 의한 변형의 조절(modifiable) 등의 다섯 가지의 유형 중 한국전통 보자기와 웨어러블 디바이스를 사용자의 사용 환경시스템에 적합한 기능의 변형(transformable), 형태의 변형(convertible), 상황의 변형(variable) 세 가지 요소로 유추하여 상호간의 유사성을 살펴보았다. 또한 가변성의 개념을 통해 한국 보자기의 다양한 활용방법과 사물인터넷 중 웨어러블 디바이스들의 사용방법 및 조형적 형질을 분석하였다. 그 결과 디자인 형질의 가변적 조형개념이 전통 보자기와 웨어러블 디바이스에 공통적으로 나타나고 있음을 확인하였으며, 이러한 가변적 원리는 현대디자인 및 과학기술 분야에 적용되고 있음을 웨어러블 스마트 기기의 사례를 통해 살펴보았다. 결국 민족 문화유산인 전통 보자기의 가변적 형질은 한국디자인의 정체성에 대한 성찰과 함께 현대 디자인의 활용가치로 충분함을 확인하였다. 또한 가변적 형질은 유비쿼터스 사회 환경에 필요한 웨어러블 디바이스 특성의 근간이 되었으며, 한국문화의 표현형질에 대한 조형적 우수성과 가능성을 확인할 수 있었다. In this context the current study was initiated in an attempt to explore similarity, through comparison, between wearable devices affordable from the era of convergence by taking advantage of IoT (Internet of Things) and variable traits identifiable in traditional Korean cloth wrappers. For the method of study, the similarity between Korean traditional wrapping cloth and wearable device were examined based on three elements: function, form, and circumstance, considering user’s structural system among five changes in conditions such as change, transition, modification, replacement, and adjustment due to the circumstances of variability. The finding, that is, the principle of variability has already been prismed to modern design and other applications of scientific technologies, which was also confirmed herein by taking examples from wearable smart devices. To summarize, variable traits dormant in traditional cloth wrappers as one of the Korean cultural heritages are found to be sufficient enough to be utilized for modern design, thereby urging us to get closer to the identity the Korean design has. In light of the fact that such variable traits provide a source in designing wearable devices in a fashion more intimate for the ubiquitous social environment, the formative superbness and design-oriented applicability in explicit expressions of the Korean culture could surely be verified via this study.

아스텍제국에 나타난 우리민족의 풍습

손성태(Son Sung-Tae) 비교민속학회 2010 비교민속학 Vol.0 No.43

신대륙을 발견한 지 26여 년이 지난 1518년 어느 날, 스페인인들은 우연히 멕이코 중부 고원지대에 고도로 발달한 제국이 있다는 사실을 알았다. 스페인인들이 발견한 테노치티땅은 여의도와 거의 같은 면적에 20만 명의 인구가 살고 있는 아스텍제국의 수도였다. 그들은 흰 색을 숭상하여, 모든 건물을 하얗게 칠해놓았고, 흰 옷을 입기를 즐겨하던 백의민족이었다. 본 연구에서는 멕이코 아스텍의 풍습 가운데 남자 의복과 장신구, 여자 의복과 장신구, 그리고 일상생활 속의 몇 가지 기본적인 풍습을 우리민족의 풍습과 비교 검토하였다. 아스텍의 남자들도 흰 도포를 입고 있었고, 검은 갓 모자를 싣고 있었으며, 머리는 주로 상투를 하고 있었다. 또 여인들이 입고 다니던 옷은 우리의 한복과 매우 비슷하거나, 고구려의 고분 벽화에 나오는 의복처럼 가장자리에 색깔이 다른 선을 가지고 있거나, 점박이 무늬를 하고 있다. 특히 한복과 비슷한 옷의 소매는 팔꿈치에서 통이 넓어졌다가 소매에서 다시 살짝 좁아지는 부드러운 곡선으로 되어, 우리의 한복의 소매 모양과 일치한다. 머리는 가체(加?)를 하였으며, 우리 민족의 여인들이 창포에 머리를 감았듯이, 푸른 풀의 물로 머리를 감는 풍습이 있었다. 그녀들의 머리 스타일은 우리민족의 머리 스타일과 같았고, 머리에 꽂았던 비녀, 봉잠, 장식용 머리꽂이도 그 모양과 특징이 우리의 것과 매우 흡사했다. 또 볼에 붉은 볼연지를 찍는 풍습도 거의 같고, 머리카락이 빠지면 모은 후에, 땋아서 다시 머리에 붙여서 장식하던 습관도 거의 같다. 남녀가 입고 다니던 옷의 대표적 세 가지 문양도 고구려 고분 벽화에 나오는 가장 대표적 우리 민족의 의복 문양과 일치했다. 일상생활 풍습도 매우 많은 면에서 광범위하게 일치한다. 본 연구서에서는 고시레, 5일장, 윷과 같은 가장 대표적인 일상생활 풍습을 우선적으로 비교 검토하였다. 그들도 5일마다 장을 열었고, 장날에는 일을 안 하고 쉬었다. 음식을 먹을 때는 먹기 전에 먼저 적은 량을 손끝으로 뜯어서 주변에 던졌는데 이러한 풍습은 우리의 고시레 풍습과 매우 흡사하다. 또 그들이 막대기 주사위 놀이라고 부르는 놀이는 우리의 윷놀이의 규칙과 놀라울 정도로 일치했고, 심지어는 사용하는 용어까지 우리말이라는 사실을 발견했다. When the Spanish discovered the Aztec Empire by chance in 1518, twenty six years after they had arrived America, they were surprised that about two hundred thousand people lived in Tenochtitlan, an island of a thousand hectare, of same area as Yeouido of Seoul. They called themselves Mexi or Aztecs and told their legend that their ancestors had come from Aztan with very developed culture. They liked white colour so much that they painted all their buildings in white and dressed themselves in white. They were the white-robed race. They kept topknot of hair for their traditional hair-style. They weared Kat, a Korean traditional black hat, and Durumaki, a Korean traditional white garment. Our surprise is not limited to this. Aztec women weared the same style of clothes as our traditional women garments. We can notice, at first glance, that the garments that they weared were our traditional Hanbok and that they weared the same hairpins as our traditional ones. We find that their three favorite designs of clothes were very same as those of our ancestors of Koguryo kingdom and that Aztec women had custom to paint themselves on the cheek a red spot as did Korean women. And they had same custom to dye hair with indigo of green plant and to keep hair that is combed out over the years in a special jar in order to decorate their hair with them. The Koreans and the Aztecs had many of the same customs in their everyday lives too. They used to pick out a little of food before beginning to eat to scatter it on the ground. This custom is called Kosure in Korea. They had same custom to open market every five days. The Mexican natives and the Koreans have kept this custom until now. They played the same stick dice game. The shape of sticks and rules of the game were the same. The most surprising coincidence is that they called horses the stones used in the game. The similarity or coincidence between the Aztecs and the Koreans is not limited to everyday life customs. All of these similarities drive us to conclude that the Aztecs and the Koreans came from the same tribe and that the Aztecs separated themselves from the Korean in order to go across the Bering Sea to America in an ancient epoch, maybe from about the year 49~50 AD to 820 AD, as noted in their history.

전통조각보를 활용한 스카프디자인 개발에 관한 연구

이수철(Soo Cheol Rhee),김주희(Joo Hee Kim) 한국디자인문화학회 2010 한국디자인문화학회지 Vol.16 No.1

한국인의 정서에는 전통적인 미적 감각이 조형의식으로 내재되어 있으며 이러한 것은 여러 분야를 통하여 현대생활에 새로운 형태로 재구성되고 있다. 또한 전통 이미지는 한국을 세계화할 수 있는 요소로서 많은 분야에서 연구를 하고 이것을 활용한 디자인의 변화를 요구하고 있다. 현재 스카프는 한국적 이미지를 세계화 시킬 수 있는 디자인연구가 부족하여 세계적인 브랜드와 경쟁하기에 매우 미흡하므로, 한국적 특성화가 가미된 경쟁력 있는 디자인을 개발하여 세계적인 브랜드가 될 수 있도록 독창적인 국내 스카프디자인에 대한 지속적인 연구가 필요하다. 전통조각보의 문헌을 통하여 고찰, 분석하여 조각보의 구성형태에 나타난 패턴의 특성에 따라 5가지 종류로 분류하였다. 이것을 기준으로 한 종류의 패턴구성 형태에 2가지씩 디자인하여 총 10개의 스카프를 디자인하였다. 디자인에 필요한 프로그램은 포토샵과 일러스트레이터를 사용하였고 스카프 제작에 필요한 크기는 90×90(cm), 소재는 실크, 프린트는 DTP로 하였다. 그 결과 첫째는 이등변 삼각형 조각이 모여서 사각조각을 이루는 패턴을, 둘째는 방사형구조의 조각 패턴을, 셋째는 수평, 수직의 조각패턴을, 넷째는 원형을 이루는 조각패턴을, 다섯째는 자유로운 형태의 조각패턴을 추출하였다. 추출된 모티브에 현대적 이미지를 더하고 패턴의 단조로움을 없애기 위해 텍스추어 효과, 바늘땀의 표현, 한국적 문양을 가미하여 디자인 하였다. 이와 같이 본 연구는 전통조각보 패턴을 활용하여 독창적인 스카프디자인을 개발함으로써, 미래의 스카프디자인 산업에 자료가 될 수 있도록 하였다. 한국적 이미지를 활용하여 새로운 형태의 디자인을 모색하고 독창적인 제품을 개발한다면 국제적으로 경쟁력 있는 디자인개발이 가능할 것으로 기대된다. Korean are inherent in the formative consciousness with the emotions aspects of the traditional culture and the aesthetic sense, so these elements are being reorganized the new form through the various fields of the modern life. In addition, it has been studied in many areas because of the best elements which Korea can be globalized and is required the change of the design utilizing this. Currently the scarf is a lack of the design research which the image of Korea can be globalized, so it is insufficient to compete with the global brand. Therefore it has to be exploited and developed the competitive design which be added the specialization in Korea and the research for the unique domestic scarf to be a global brand design is needed to continue. As the characterization of the patterns which is shown the composition configuration of the patchwork that is considered and analyzed through literature survey of the traditional patchwork is clssified 5 kinds. The scarf is made based on 5 kinds classification and then is produced total of 10 scarves as 2 designs of 1 pattern`s configuration. Authorizing program is the photoshop and illustrator, and the required size is 90×90(cm), the material is silk, and use DTP as the printer. Consequently, the first pattern is square piece`s patterns which make up pieces of an isosceles triangle, and the second one is pieces of the radial structure of the pattern, the third is horizontal, vertical pattern, the fourth is pieces make up a circular pattern, the last is to extract the pattern of a free piece. This is designed to add the extracted motive with the modern image, and also texture`s effect, stitche`s expression and the pattern of Korea to relieve the monotony for the pattern. Thus, this study`s aim is the development for the unique scarf`s design with using the traditional pattern and it will be the reference for the scarf design industry in future. It is expected that will be developed the internationally competitive scarf design when the design of the new form which is utilizing Korea`s image is searching and is developed the unique products.

민속조사에 나타난 壽衣의 과거, 현황과 과제

고부자(Koh Bou-ja) 비교민속학회 2005 비교민속학 Vol.0 No.30

Past, Present Status and Task of Costume for the Dead Based on Folklore Research. This folklore research is about costume for the dead, shroud, and symbolism of costume from birth to death. The content is about collected materials and data accumulated by personal interview throughout the country from 1960's to present, 2004. The principal objective of this research is to understand the notion of shroud in traditional society and it's current use. The essential purpose of this research is to find proper attitude and conduct toward present day's tendency thinking light of a man and ancestor. The shroud of ancestor was symbolized as "costume of eternity for the dead" in traditional value and conception. It was valued as an important task and known to hold inner experiences of devoted people. As well as, It was symbolized as devotion, must-do task and unwritten rule to prepare shroud for parents. The life of a human being was believed as "one's life will end but the world of the dead will last for eternity". One's current life was called as 'iseung' and the world of the dead as called as 'jeoseung', jeoseuog was believed as the place of eternity without poverty, pain and discrimination of status. Likewise iseung was believed as the place guaranteed endless life if one lives life kindheartedly. As well as, jeoseung was believed as the next place to endure happiness and pleasure when passed away family and neighbors meet again, "the heavenly place to meet again by promise." Consequently, this kind of aspiration resulted as preparation, devotion and interest of clothing for the dead. Moreover that kind of wish resulted creating the best outfit to decorate appearance of the dead. The shroud, known as the outfit to decorate appearance of the dead was actually the wedding costume, made with the most extravagance. Though after 1990's, traditional ceremonial process has been simplified and shortened since most of mortuaries have been placed in hospital's modem funeral home. Because of that the preparation and perception of shroud has changed drastically. Nowadays easy, cheap and formality is recognized as the most ideal ceremonial process. This kind of easy-going simple mentality was created by immoral merchants. Start of 21 Century, we should closely watch and guard the last sanctuary of our dignity and devotion which has been disregarded by the drastically overflowing realities.