테이크아웃 차전문점에 대한 소비자의 인식과 이미지

마유리,유가효,홍성희 啓明大學校 生活科學硏究所 2010 科學論集 Vol.36 No.-

The purpose of this study is to investigate image of and demand for take-out tea shops preferred by consumers and to seek for an effective plan to popularize take-out tea shops. The subject were 387 consumers in Taegu area. Collected data were analyzed with SPSS WIN(VER 17.0) and processed statistically using frequency, cross-tabultion, factor analysist-test and Chi-Square test. The research results are summarized as follows: First, they recognized traditional tea shops positively in that they were quieter, more comfortable and having higher reliability of price and quality than take-out coffee shops while they recognized them having lower accessibility and lacking promotion and space. Second, the satisfaction and intent to purchase in traditional tea shops and take-out coffee shops, respectively were compared. For traditional tea shops, male was more satisfied with the service and atmosphere than female was while female with location than male. Users at their 20s compared to those at their 30s had higher satisfactions with menus, service atmosphere and prices and intent to recommend while those in their 30s had higher satisfaction with location and intent to use compared to those in 20s. Third, take-out tea shops preferred by consumers recognized the need of making brand the highest and turned out that they preferred reliability on quality, neat and was modem menus and the price ranges clean images. The most preferred tea drink were between 3,000 won and 4,000 won.

전통장식기법을 적용한 규방공예품의 DIY 패키지 개발

마유리,김은정 한국동양예술학회 2019 동양예술 Vol.43 No.-

본 연구는 현재 인터넷 전자상거래로 시판중인 규방공예품의 DIY 패키지 아이템 현황을 살펴보고, 규방공예품의 유형과 요인을 분석하여, 전통장식기법을 다양하게 접목한 규방공예품의 DIY 패키지를 개발·제안하고자 하였다. 또한 규방공예의 전통성을 표현하는 동시에 세계화 시대에 알맞은 현대적 규방공예품으로의 제작 가능성을 제시하는 것을 연구의 목표로 삼고자 하였다. 본 연구의 내용 및 방법은 크게 이론적 고찰, 자료 조사, 유형분석, 작품 제작으로 구성된다. 먼저 이론적 고찰은 문헌과 유물을 통한 고찰로써 규방공예와 전통장식기법, DIY 패키지의 개념 고찰을 하였다. 다음으로 규방공예품의 DIY 패키지 현황조사의 경우, 네이버 쇼핑을 통해 ‘규방 DIY 패키지’로 검색되는 규방공예 업체들을 중심으로 하여 규방공예품 DIY 패키지 자료를 수집하였다. 이를 바탕으로 규방공예품 DIY 패키지를 유형별로 분류한 후, 각 유형별 디자인의 형태, 색상, 문양, 소재, 장식기법을 분석하였다. 다음으로 전통장식기법을 적용하여 규방공예품 아이템을 선정하고 개발, 제작을 통해 DIY 패키지화하는 과정으로 연구가 진행되었다. 본 연구에서는 규방공예품 작품 제작을 위한 아이템으로 일반적인 생활용품이 아닌 패션 연출을 위한 아이템으로써 머플러, 목걸이, 브로치, 파우치, 가방을 선정하였다. 이와 같은 규방공예품 아이템에 자수, 매듭, 조각잇기, 누비, 선물림, 잣물림, 모시 꼬집기, 박쥐단추의 전통장식기법을 교차해서 적용하였다. 본 연구는 전통적인 장식기법을 적용한 규방공예품의 DIY 패키지가 현대적인 문화상품으로 개발될 가능성을 모색했다는데 의미를 찾을 수 있을 것이다. 앞으로의 연구에서는 좀 더 다양한 기법으로의 접근을 통해 규방공예품 DIY 패키지의 다양화 및 차별화가 이루어지도록 해야 할 것이다.

Scenes of Childhood

마유리 ( Ma Yoo Ree ) 한국기초조형학회 2019 한국기초조형학회 작품집 Vol.2019 No.2

축제에서 재현된 백제행렬복식의 현황연구

마유리(Yoo-Ree Ma),김은정(Eun-Jung Kim) 한국의상디자인학회 2015 한국의상디자인학회지 Vol.17 No.2

4대왕 추모제,백제고분제·왕인박사춘향대제에 나타난 제례복식 연구

마유리 ( Yoo Ree Ma ),김은정 ( Eun Jung Kim ) 한국기초조형학회 2015 기초조형학연구 Vol.16 No.5

축제에 나타난 제례복식은 축제 개최 시작과 함께 행해지는 프로그램에서 가장 먼저 접하게 되는 전통복식인 동시에, 축제 주제의 이해를 돕고 시각적 효과를 부여하는 중요한 요소라 할 수 있다. 본 연구는 동일한 시대를 배경으로 하는 다양한 전통역사문화축제에 나타난 제례복식의 유형을 분류하여 재현양상을 제시하는데 목적이 있다. 이에 축제의 배경이 백제시대인 백제문화제, 한성백제문화제, 영암왕인문화축제의 제례의식에 착용된 제례복식을 중심으로 비교분석하였다. 다양한 백제관련 축제에서 연행되고 있는 제례의식에 나타난 제례복식을 비교해보면 복식품목의 구성, 소재, 색상, 형태, 착장 방식면에서 차이가 나타났다. 이러한 비교분석을 통해 도출된 백제관련 축제에 나타난 제례복식의 특성은 제례복식의 유형이 조선시대 제복(祭服)과 백제복식의 절충형, 복합형, 단독형으로 다양하게 나타나고 있다는 점이다. 이러한 현상은 제례의식을 축제 프로그램 속에서 함께 공연화시킨 결과로 생각되며, 제례복식의 다양함으로 축제행사의 극적인 효과를 추구하고자 했던 목적을 염두에 두더라도 제례절차에 적합하면서 제례복식의 대표적 속성인 제의성을 수반한 전통제례복식을 적용해야 할 것으로 생각된다. Ritual costumes in festivals are traditional costumes that are first encountered in the programs performed simultaneously with the beginning of holding a festival and at the same time, important factors to help understand the theme of festivals and give visual effects to the festivals. This study aims to classify the type of ritual costumes appeared in various traditional historic-cultural festivals in the background of the same era and present the patterns of reproduction. Accordingly, this study makes a comparative analysis of the ritual costumes used for ritual ceremonies of three major festivals: Baekje cultural festival, Hanseong Baekje cultural festival, and Yeongam Wangin cultural festival in the background of Baekje period. In the comparison of ritual costumes used for ritual ceremonies in various Baekje-related festivals, there appeared a difference in composition, materials, color, shape, and mode of wearing of costume items. This comparative analysis suggested that as one of the characteristics of ritual costumes appeared in Baekje-related festivals, the type of ritual costumes appeared in various ways: compromised type, combined type, and single type in ritual costumes of Joseon Dynasty and those of Baekje period. This phenomenon is deemed as the result of integrating ritual ceremony into festival programs. So it can be concluded that the traditional ritual costumes having rituality, a representative property of ritual costumes as well as suitability for ritual procedures need to be applied, while considering the purpose of pursuing for the dramatic effects of festivals by varying ritual costumes.

종가(宗家)의 제례복식(祭禮服飾)에 관한 연구

마유리(Yoo Ree Ma),박자명(Ja Myoung Park),김은정(Eun Jung Kim) 한국복식학회 2008 服飾 Vol.58 No.1

한국과 일본 축제의 백제복식 재현에 관한 연구: 백제문화제와 사천왕사왔소축제의 행렬복식을 중심으로

마유리 ( Yoo Ree Ma ),김은정 ( Eun Jung Kim ) 대한가정학회 2011 Human Ecology Research(HER) Vol.49 No.5

This study aimed to suggest more appropriate and accurate festival costumes based on a comparative analysis on various reproduced costumes and a period review of traditional festival costumes. In particular, the comparative analysis examined festival costumes which appeared in Korean and Japanese festival parades during the Baekje Period. The Baekje Cultural and Sacheonwangsawasso Festivals were examined. A literature review as well as field research and digital restorative techniques were used in the study. The reproduction patterns of Baekje costumes from both festivals were compared with original Baekje costumes, demonstrating several differences in the configuration, material, color, and shape of the costumes in addition to the way they were worn. Based on the comparative analysis, Baekje costumes used in Festivals were grouped into three categories: King`s Costume, Queen`s Costume, and Government Official`s Costume. Dress sketches and 3D illustrations also have been presented.

한국 상례복에 관한 연구-광주·전남지역의 상례복 제작업체를 중심으로-

김용서,최은아,마유리,윤은영 한복문화학회 2003 한복문화학회 학술대회 Vol.- No.-

서울 · 경기지역 굿거리에서 강신무가 착용하는 무복 몽두리 비교연구

김은정(Kim Eun-Jung),윤은영(Yoon Eun-Young),마유리(Ma Yoo-Ree) 한복문화학회 2015 韓服文化 Vol.18 No.2

The present conditions of shaman"s costume which Gangsin-mu (possessed shamans) wear in modern Gutgeori were examined through a field survey and a phenomenon. The type of shaman"s costume Mongdoori worn to symbolize the dancing expression of calling an ancestor spirits. From this acting, regardless of the type of exorcism was observed which suggesting the need to analyze the traditional and the modern shaman"s costume Mongdoori. For the method of study, bibliographic data related to the origin of traditional Mongdoori was used and the pictures were taken while witnessing exorcisms for two years from 2013 to 2014. First, comparison of the type between traditional shaman"s costume Mongdoori and modern shaman"s costume Mongdoori were showed. While shaman"s costume Mongdoori has foundation in traditional costume Mongdoori, it has been put through changes with increasing multicolored stripes or embroidery to be looked gorgeous partially. Second, there were formative differences between traditional shaman"s costume Mongdoori and modern shaman"s costume Mongdoori. In addition, most of shamans wore Mongdoori which were pleated around their waist in the form of a skirt and jacket with an influence of dance costume. Third, in the modern Gutgeori, shamans could not completely adjust their dresses because they should be able to wear multiple pieces of Mongdoori at once in the dance symbolizing their ancestor spirits and take them off in the manner of divine conversion. Therefore, a band worn around Mongdoori became unnecessary and a part of the configuration of shaman"s costume seemed to be disappeared.

한국 상례복에 관한 연구-광주ㆍ전남지역의 상례복 제작업체를 중심으로

김용서(Kim Yong-Seo),최은아(Choi Eun-A),마유리(Ma Yoo-Ree),윤은영(Yoon Eun-Young) 한복문화학회 2003 韓服文化 Vol.6 No.2

The mourning garments that reflect well the filial piety for our ancestor are our traditional dothes. But time goes by, the mourning garments are simplified and the composed factors of the mourning garments are changed with modern life styte and it is substituted for the western dothes step by step.<br/> So we compared the mourning garments that were existed in historical documents with manufactures to inherit and<br/> develope them.<br/> As a result of that we could know that there are a lot of differences in forms, types, production methods, materials and<br/> colors between the mouming garments that we make and the mourning garments that are existed in historical documents.<br/>