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김희진,조효순 명지대학교 자연과학연구소 1999 자연과학논문집 Vol.18 No.-
부인기본원형이 수록되어 있는 강순희의 「의복입체구성」, 도재은의 「패턴디자인의 제작법」, 이형숙의 「서양의복구성」등 교재 세편을 중심으로 부인원형을 제도. 제작하였다. 교재 세편에 나와있는 부인원형 중길. 소매. 스커트. 바지원형의 치수공식과 실측치수와의 차이 등을 비교하였다. 상의의 길원형에서 가슴 넓이는 「서양의복구성」과 「의복입체구성」에서의 여유분이 비슷하였으며, 가슴 포인트는 「패턴디자인 및 제작법」에서 유장의 길이가가장 짧았다. 허리둘레는 「의복입체구성」에서 가장 여유가 많았고 「패턴디자인 및 제작법」의 진동깊이는 다른패턴에 비해 가장 낮았다. 소매패턴제작에서는 「패턴디자인 및 제작법」에서 기준을 팔둘레로 잡아 제작하여 원형상의 보정이 필요하였다. 스커트 패턴제작시 「서양의복구성」과 「패턴디자인 및 제작법」의 스커트 경우는 엉덩이의 확대를 나타내는 시각적인 착시현상이 나타났다. 바지 패턴제도시 「서양의복구성」과 「의복입체구성」경우는 엉덩이 둘레에 비해 여유가 있었으나 「패턴디자인 및 제작법」의 경우는 엉덩이 둘레보다 적은 치수가 측정되었다. The analizing result of "GIL" pattern (Jacket). 1) The extra space of it's bust was much the same in "The construction of western costume" by Hyung-Sook Lee and "The cubic effect of costume " by Soon-Hee Kang. 2) The length between the both bust point was the most shortest. ("Pattern-design and manufacturing" by Jae-eun Do. 3) The waist circumference was more spacious than other portion of cubic construction. 4) The depth of armhole by jae-eun Do was the most deep among other patterns. 2. The analytic result of sleeves by the textbook of pattern-design and manufacturing (Jae-eun Do) revealed the need of correction on standardizing with arm circumference. 3. Seeing the analytic result of skirt, there was the effect of visual illusion that the waistline seemed to be thinner and slip from the central line in spite of the spaciousness in Western Clothing Construction, and also the buttock seemed to be large in the cubic construction, pattern-design and manufacturing method. 4. In the pattern-drafting of slacks, there was the spaciousness comparing with the real hip circumference in the case of western clothing construction and cubic construction of costume, but it was smaller size than the hip circumference in the case of pattern design and manufacturing method.
趙孝順 명지대학교 대학원 1997 대학원논문집 Vol.1 No.-
1. A. full court dress of King was MYUN-BOK consisted with GOO-RYOO-GWAN and GOO-JANG-BOK which had been put on since King In-Jong, Koryo Dynasty. 2. The Crown Prince put on WON-YOO-GWAN and GANG-SA-PO during the ceremony of Court Marriage. 3. Qeens,next wives of King and wife of Crown Prince wore JUG-EUI RO-EUI and WON-SAM. 4. The bridegroom of the common people put on DAN-RYUNG,SA-MO,SU-DAE and Black boots. 5. Every common bride put on JANG-SAM or WON-SAM or WHAL-OT or DANG-EUI or SO-EUI.
趙孝順,金姬燮 명지대학교 1985 明大論文集 Vol.16 No.-
The ornaments worn by women had the original purpose of praying for good luck in their life rather than decoration for their body. “PATTERN” (MOON YANG) on it was realistic and had the special point at the variety rather than the creative idea about the ornaments. We can see that the “PATTERN” of the symbol of “locky omen”; ASPIRING AFTER THE THRIVING IN THEIR OFFSPRING, THEIR WEALTH AND LONGEVITY, combined with the “BYUK SA MOON YANG” (“PATTERN” of driving away the wickednss) constituted the main stream of it, and we can understand that they want to symbolize it with the underlined meaning rather than the aesthetic value or its preciouness of the “PATTERN” of the ornaments worn by them. The ornaments were the inherent spiritual treasure, they thought traditionally, that had been concealed in the meaning of “confidence”, “hop”, “waiting for” and “long endurance”.