宗敎의 社會的 機能이 服飾에 미친 影響에 관한 硏究

尹點順 호남대학교 1993 호남대학교 학술논문집 Vol.14 No.-

Egypt was an arid and mild climate and opening forms of costume were worn. The Egyptian lives were forming mainly and they were deeply concerned about natural phenomena and celestial bodies having strong influence on them. They worshopped the Sungod and made a display of the son of the Sungod by making pleats generally or partly of perpendicular lines symbolizing sun's rays in wide and elegant loincloths and gowns for their eternity of strength. The figures of waves meant resuscitation and eagles, the symbol of the upper Egypt, had a meaning of protecting the king during a war and the queen ornamented an eagle on her head while the king went on an expedition. Uraeuses the symbol of the god of the lower Egypt, were figured and used with eagles. This strong and direct reflection of a religious colour on costume was a special feature of Egypt. Religious influence was reflected diversely on the Byzantine costume too. The external form was the one of wrapping the whole body in a chaste sense of christianity. Here they expressed the glory of God and the mysterious heaven by adorning the figures symbolizing christianity in a brilliant sense of eastern colours. Like this it's meaningful that religion unity by producing symbolic objects to costume and bound the society together.

古代 西 Asia의 服裝에 관한 硏究

尹点順 호남대학교 1988 호남대학교 학술논문집 Vol.9 No.-

Because the area of Mesopotamia was geographically opened, the invasions were continued of nomadic tribes of north mountainous regions and south desert. And the history of the politics was very complicated with the rises and falls of various peoples and nations. Considering the patterns of costume on this condition, there were cylinderical fringed tunics, long and short Candys wearing with pantalons, and various kinds of shawls with fringed ends of the early Sumer. Especially underclothes appeared first, wearing pantalons under the candies and it will be considered the origin of current cutting and sewing that clothes were cut to fit bodys and Set-in-Sleeves were attached. The external forms of man and woman costume were same, but woman's was a draps hiding a body more. Wool was primary textiles, but sometimes linen was used. Textiles were adorned with exquisite embroidery and rosettes could be seen chiefly as motives. Fringes were used continually from the beginning as a time changes. Gorgeous colors were used and purple candys were embroidered with silver and white. Conical tiaras were put on their heads and hairs and beards were made curly. footwear was the from of sandals, but it was boots that could cover feet completely and be put on high in mountainous areas.

로마네스크 시대 남성 복식의 구조적 분석

尹点順 호남대학교 1998 호남대학교 학술논문집 Vol.19 No.2

This study has resulted in the following applying the form and meaning the man's costume in the Romanesque era to the theory of structuralism established by Saussure and the extensive and contained meanings of Roland Barthes. The kinds of man's costume of the Romanesque era were not various but those of the royal family and aristocratic class were more various and decorated better than the lowly persons. So their social levels could be differed by the forms of the costume they wore. Each form of costume was differed according to the structural elements and showed the feature that the form is the costume of the era and social position's differences of the wearers' sexes, levels, and vocations in the same era. Costume's analytic body was the costume's form selected according to the central analytic elements, this showed the meaning of the era's levels and classes. What was meant on the syntagmatic structure was the following two sorts, the selection on the paradigmatic structure and the combination on the syntagmatic structure. On the syntagmatic structure, mostly tunic was selected and worn as the central analytic element of the man's costume in the Romanesque era. But only the King of the statue at the gate of the Sartre Cathedre used bliud, the lowly person wore breeches, and the royalties hose, and so classes were divided. Hair style was mostly short bobed hair. The king demonstrated the class of the royalty with a crown on his head, the lowly person hood, and the nobilities coif for hair decoration. so they showed their classes. Shoes were leather half boots and decoration was tow sorts, girdle and fibula. That is, the costume's structure was reflected by the era's features. On the structure of the man's costume in the Romanesque era, many religious features were emphasized and the elements forming each analytic body were classified and meant the society's features.

학령기 아동의 의복 형태에 대한 고찰 : 광주 광역시의 국민학교를 중심으로 Aroung Elementary School in Kwang-Ju City

尹點順 호남대학교 1995 호남대학교 학술논문집 Vol.16 No.2

Elementary school childern were their comfortable clothes not to be disturbed in that they enjoyed to play ina group. Some childern of lower classes were in full uniform, but some children of higher classes wore individual style of clothes because they reflected their opinion to some degree. In case of color, the children of lower classes wore clothes of brilliant and warm color, but the children of higher classes wore clothes of cold color. The selection of Color according to sex Showed the trend that girls liked the warm color and boys liked the cold color. Children wore a feeling-good cotton, wool, and knit of various materials, especially unfigured clothes. The children of higher classes wore big checkered clothes and the children of lower classes wore pretty stylistic clothes of design and small checkered clothes. In case of personal ornaments about their hairstyle, girls would like to take long hairs. Among them, the girls of lower classes liked to braid and tie their hair with ribbon and bond, so they showed frech and beautiful hairstyles. Boys showed short and sporting hairstyles. In case of hats the boys of lower classes put on their hats like full dress, and the boys of higher classes put on sporting hats. In case of schoolbags, the children of lower classes held or tied their schoolbags on their backs. The children of higher classes tied their sacks on their backs. In case of shoes, boys put on their sneakers and basket ball shoes irrespective of ages adn classes. Girls put on their sneakers, but some girls of lower classes put on their shoes. Any girls put on boots which is fashionably popular to youngsters. These situation showed that young girls are more sensitiue to fashion.

고대 이집트 복식의 구조분석

尹点順 호남대학교 1997 호남대학교 학술논문집 Vol.18 No.4

The Ancient Egyptian costume is as follows, as a result of the consideration comparing the analystic with syntheticd structures. In the analystic structure of the costume, the analystic elements of man's outer garment in the Egyptian era are kalasiris, a loin cloth, that is Kilt, and the analystic element of the hair style and decoration is wig Uraeus, of the shoes is Sandal And those of the ornaments are passium collar and Shendot. In the analystic structure of woman's costume, the analystic element of the outer garment is kalasiris, of the hair style and decoration is wig diadem, and of the ornament is passium collar. The result of this consideration in the synthetic structure is that in the tables 3-1, 3-2, other analystic elements are selected and combined according to the structural features of the central analystic elements in the analystic elements. Comparing the analystic systems of man ana woman, man's costume has more analystic systems than woman's costume. And it can be seen in the synthetic structure that man's costume is combined in more analystic systems than woman's according to analystic systems in the analystic structure, too. This shows that the Egyptian liked authority very much and expressed it mainly through costume. And we can see King's costume is a more various and brilliant form than Queen's. Wide long elegant drapery style costume, gigantic wigs, hair decoration, and metal or naments put on the body everywhere can be considered that they reflected these psychology.

르네상스 시대 여성 복식의 구조적 분석

윤점순 호남대학교 1999 호남대학교 학술논문집 Vol.20 No.2

A distinctive feature appeared in the woman's costume in the Renaissance Period was that the kind of the costume was few, but the form of a gown, the analytic body of an outer garment, was various. As it were, a form comes differently according to a constituent element and a meaning is differed according to a form. The wearer of a gown was different. It expressed the meaning of a social position and had the meaning as an upper and under clothes of a woman's outer in the Renaissance Period and the classed of the royalties, nobilities, and harlots were distinguished. In the syntactic structure, all the syntactic kinds selected and wore gowns, one pieces of an outer garment, as central analytic elements. And harlots nearly did not wear underwears, but all the royalties and nobilities wore them. Hair style was all braided, or foreheads revealed. Hair decoration made by all the woman except harlots and Isabella showed social positions. Chopine was worn as a footwear except harlots. And the ornaments of slashes or pearl necklaces were same in the subjects, but different in the forms according to the classes of their social positions.

人體美를 極化시킨 르네상스時代의 服飾에 관한 考察

尹点順 호남대학교 1991 호남대학교 학술논문집 Vol.12 No.2

The Renaissance was the revival of learning and the cultural movement meaning the restoration of humanity dizgusted with the christian of the middle ages. There were made human central modes different from God central culture in csotumes, not to mention paintings, sculptures, and constructions in reality because this movement mostly aimed at the respection of nature and the liberation of an individual and idealized the ancient art and literature. In other words, the characteristic of the costume of the Renaissance was to make the exaggerated silhouette until the functional beauty was emphasized and the beauty of human body was transformed. Women made exaggerated hourglass silhouette as they tightened their waists slimly, increased the volume of a skirt large, and could emphasize this silhouette more as they put sleeves some swelling pads. Men swelled their shoulders and breasts large by putting pads into them to appear the dignity and the force of men. And they tightened their waists slimly to emphasize the beauty of swelling more. The big characteristic of the Renaissance were in a slash and a ruff coller. A slash was a design motif conceived in a military uniform and was used by men and women labitually in common, Especially on the sleeves and upper garments of men were slash ornaments of various tyles. And the rhythm of elegant lines and regularly arrangedleats of ruff collars harmonized so well with the silhouette and the rhythm of the whole costume, that they could make the costume of the Renaissance more beautiful.

바로크 복식의 구조분석

尹点順 湖南大學校 1997 호남대학교 학술논문집 Vol.18 No.2

Costumes are that people synthesize bodies, the objects of costumes. It becomes the sign and the meaning is made according to the sign. That is the synthesized structures combined by the interrelated structures of outer garments and undergarments display the general silhouette, the compositional features of the costumes became the sign and that have meanings of that became the meaning. So to the meanings of the features are given to the forms and designs of the costumes as same as language. Using these structures, I took a look at the Baroque costumes of man and woman that siqnify distorted purposes. I selected each costume of man and woman that can display the features of these days best in the tables of 2-1 and 2, the interrelated structures of the Baroque costumes, and showed them in the 3-1, 2, the synthesized structure. It was composed with some interrelated elements of the costume, Of these interrelated elements, we think pourpoints, the upper clothes, as central elements and selected manteaus, rhingraves, chemises, and shoes that have common meaning with the compositional features of these central elements. Woman's costumes, in the table 3-2 are composed with a few interrelated structures as same as man's costumes. And they selected the upper clothes, the interrelated elements, that have common meaning with the compositional features of these central elements by making lower clothes skirts as the central elements of these interrelated elements and selected chemises and hair styles, the rest interrelated structures by these upper clothes. In the Baroque costumes by the analysis of the structures, the uses of pads and corsets were diminished and the uses of decorations were increased excessively. In the man's costumes, we can see rich wigs, pourpoints similar to boleroes, skirts with much margin, colourful bunches of ribbons among rhingraves, bunches if ribbon loops attached to rhingraves, cammons, flat wide high heeled of ribbon loops attached to rhingraves, cammons, flat wide high heeled shoes, and so on. And in the woman's costumes, we can also see softness of textiles, beauty of colours, freedom of forms made by wearing a skirt upon another, dynamic diversity, and richness. And the elegant movement, made by the decorations of collars and the ends of sleeves, are very attractive. That is, contrary to the man's costumes, expressing odd and strange image with excessive decorations, women's costumes created soft, elegant, and general beauty.

복식의 계열 구조와 통합 구조 : 르네상스 복식과 바로크 복식을 중심으로 Centered on Costume in Renaissnace and Baroque Periods

尹点順,韓明淑 服飾文化學會 1997 服飾文化硏究 Vol.5 No.2

18世紀의 服飾과 文樣에 대한 고찰

尹点順 호남대학교 1987 호남대학교 학술논문집 Vol.8 No.2

The culture of saloon was developed centering around Paris during the regency of the Prince of Orleans Philips, and after the Palace was moved to Versailles under Louis ⅩⅤ, the refined and graceful Rococo style added with the rectilined elements according to the Russian taste of Madame Pompadour and chinoiseri formed and there mixed with classical taste in the end of the kin. In the last monarch Louis ⅩⅥ the magnificent, graceful, and elegant Rococo style prospered with the rococo elements and the classical motifs reflecting the taste of Queen Matrie Antoinette. The Rococo characteristic was illustrated in the detailed decorations over the walls and the ceilings of architecture, or in the interior decorations. Graceful arabesgue design, hell design, and chinoiseri were fashioned in Rococo designs.