논문편 : 컴퓨터에 의한 한복 여자 저고리 원형제도의 기초연구

소황옥 ( Hwang Oak Soh ) 대한가정학회 1987 Family and Environment Research Vol.25 No.2

고구려 복식의 재현을 위한 덕흥리고분벽화(德興里古墳壁畵)의 연구

소황옥(Soh Hwang-oak) 한복문화학회 2001 韓服文化 Vol.4 No.3

This study became beginning that wish to reappear person dress and its ornaments that appear in Goguryeo mural tomb quantity to ready Goguryeo's costume and culture and standard of dress type. Writer Wishes to ready variety of Goguryeo dress and its ornaments culture and theoretical backing of foreignness, and analyze Contents of mural paintings in a tumulus and Guseongsang's accent must understand mural paintings in a tumulus preferentially to reappear Tonghayeoinmulboksik, and do practical discussion of dress composition through Deokheungri mural tomb research.

한국 무속복식의 역할에 관한 논의

소황옥(Soh Hwang-Oak),고부자(토론자) 비교민속학회 2003 비교민속학 Vol.24 No.-

Korean shamanism as the core of the traditional can be divided into three basic types, namely spiritual shaman(Gangsin-mu), hereditary shaman (Seseup-mu) and acquired shaman.(Seseup-mu). Used various materials and costume in korean shamanistic ritual (traditionally called as Gut) have particular symbolic meanings in the specific cases. Here, costume in performing shaman's rituals is that there are two king of clothing in it. One is the clothing as one of materials and the other is the clothing dressed by shaman. The shaman's performing rituals reflected the kind of costume as a service for the deity as well as a time, a goal, a scale and area. But shaman's costume some kind of is the same definite basic style according to the specific performing rituals and it depends shaman's character. The modern shaman' clothing are similar to the traditional ones official clothing in overall shape even though details have great differences and have been changed. That mean is that The shaman's costume have been changed through imitation and remodelling for the creation of spiritual, theatrical and special atmosphere by Korean Shaman who has totally particular character. In conclusion, Costume in Korean Shamanistic ritual plays a role as the mediation between shaman and spectators.

한ㆍ터키 전통복식의 연구

소황옥(Soh Hwang-Oak) 비교민속학회 2010 비교민속학 Vol.0 No.43

??터키의 역사의 흐름은 시공간적으로 광대하며, 동서 문명의 교류, 이슬람과 카톨릭 등의 종교적 연관성이 다양한 인종과 복합적 양상으로 공존하고 있을 뿐만 아니라 관련 자료의 부족과 언어의 장벽은 복식에 대한 논의를 더욱 힘들게 하고 있어 그동안 터키복식의 다양함과 복합적 특성은 매우 개괄적인 수준에서 이해되고 있었고 복식 연구의 논의 또한 매우 미약하였다.<br/> ??이번 터키 학술답사를 계기로 마련되어진 터키와 한국의 복식문화의 비교는 사실상 모래에서 진주를 찾아야 하는 것과 같은 막연함을 함께 하면서도 한국과 터키 민족은 중앙아시아의 유목민족에 그 뿌리를 함께 한다는 한가닥 실마리를 갖고 시작하기로 하였다. 그러나 한국과 터키는 그동안 지역적으로나 정치 사회적 환경적 배경 요인이 시간적으로 많은 세월이 지나갔으며, 지역적으로도 지금은 유럽에 속해 있고, 특히 이슬람 국가라는 종교적 차이는 외래문화의 교섭에서 가장 많은 영향을 받는 것으로 보이는 복식에 대하여는 관련된 참고자료를 찾기 힘들 뿐만 아니라 터키복식의 용어가 너무나 혼재되어 일관된 복식연구를 진행하기에는 많은 어려움이 있어 본고는 터키 복식과 한국복식의 연결고리를 찾았다는 것에 보다 큰 의미를 둘 수 있다고 본다.<br/> ??복식의 비교연구는 공통성과 차이점의 측면에서 논의되어져야 한다고 본다. 본고에서는 우선 한국복식의 기본형은 카프탄스타일이라는 것에 그 주안점을 두었고, 카프탄은 터키의 복식의 대명사로서 현재까지도 세계에서 다양한 디자인의 카프탄이 패션상품으로 인기리에 판매되고 있다는 점에 착안하여 오토만제국 술탄의 최고 의례복이었던 카프탄을 터키 카프탄의 원형으로 보고 한국에서는 카프탄스타일의 전개형을 기본으로 하고 있는 남자의 의례용포를 한국과 터키의 의례용 남자복식의 비교라는 관점에서 두 나라의 전통 복식을 비교하고자 한다.

1950년대에서 1980년대의 영화에 나타난 한복

소황옥(Hwang Oak Soh),김유승(Yu Seung Kim) 한국복식학회 2014 服飾 Vol.64 No.2

This study studied female Hanbok that appeared in Korean movies in different periods, and investigated the changes and flow of the Hanbok in the movies based on the design and the form. Research scope is limited to Hanbok in Korean movies released between 1950` and 1980`, and in order to study Hanbok in movies, snapshots of Korean movies for each period are used. Pictures are sourced from the Korean movie database, and forms and colors of Hanbok in the pictures are classified into 7 categories. Based on this, characteristics, changes and flow of Hanbok for each period are studied. Based on this, by investigating the Hanbok in Korean movies from silhouette and design perspectives and comparing each period, it is found that the following changes have been made: From 1950` to 1980`, generally Min Jeogori (Normal Korean traditional jacket) had a higher rate. Up to early 1960`, wide collar and collar strip were trends, but from 70` to 80`, they have been remarkably narrowed. After liberation, ease and functional elements of western clothing were accepted. From 1950` to 80`, generally wide and round shape sleeve were used. Also, from 50` to 80`, normally skirt and Jeogori had the same color and fabric. Lastly. as Hanbok with western style fabric, rather than traditional Hanbok fabric was increasing, Hanbok with variously patterned fabric was shown. The lack of colored pictures led of limited research materials, and so a more accurate and sophisticated research on material and design was not possible, However, it is meaningful that this study has investigated changes and flow of Hanbok in modern Korean movies.

韓ㆍ蒙 服飾文化의 比較 硏究

소황옥(Soh Hwang-oak),김영자(토론자) 비교민속학회 2002 비교민속학 Vol.22 No.-

Central Asia research is barrier that can illuminate Korea ancient history of riddle. But, there is difficulty that must scour the language with great many race involved with Central Asia area. Research about mongo empire among it is important in terms of had affinity with our country synchronically. Specially, contribution of dress and its ornaments culture that appeared in form that is not contents among lifestyle of necessities of life become involved with human’s life can refer to background or situation that is thing that do refutation enemy age. In although consisted for 100 years in the 13th century history of our country consideration and cultural contact of mongo that feel Japan-made Gangjeomgi’s effect that consisted for 36 years in various side and compare Mongol dress and its ornaments culture with the Korea to us which live the 21th century as relevant work speak. But, current Mongolia is, and stammer that mongo had direct cultural relationship via some route with consideration preferentially compare composition of dress and its ornaments that treatise that is passage to be continuing fast Westernization developing from the 19905 can find in Mongol tradition dress and its ornaments with the Korea, and focused how had dose cultural contact by cultural effect in different situation with past mongo empire although is after have traditional nomadism.

한복 문화의 활성화를 위한 한복행사에 관한 제언

소황옥(Hwang-Oak Soh) 한국의상디자인학회 2009 한국의상디자인학회지 Vol.11 No.3

자초염에 있어서 매염제가 염색견뢰도에 미치는 영향

소황옥(Hwang Oak Soh) 중앙대학교 생활문화산업연구소 [ 구-생활과학연구소] 1988 가정문화논총 Vol.2 No.-

쑥염 (艾葉染)의 염색견뢰성에 매염방법이 미치는 영향

소황옥(Hwang Oak Soh) 중앙대학교 생활문화산업연구소 [ 구-생활과학연구소] 1991 가정문화논총 Vol.5 No.-

패션 한복의 디자인을 위한 철릭의 비교 연구

소황옥(Soh Hwang-Oak),양승옥(Yang Sung-Ok) 한복문화학회 2001 韓服文化 Vol.4 No.4

Currently. various kinds of design are attempted for fashionable Korean dress. but the attempts mostly focus on chima jeogori and baji jeogori. And Poryu is chiefly utilized for Durumagi. Therefore. the use of Cheolrik that is unique structurallY might serve as a motif to put diversity and freshness in fashionable Korean clothes design. The purpose of this study was to analyze Cheolrik design components in an effort to be more creative in utilizing Korean clothes culture and yield new design pattern. The style of Cheolrik in the Koryo and Choson Dynasties were examined, and several types of Byeokjeokporyu that were used by China's Mongolia, Won, Myeong and Cheong Dynasties and similar to Cheolrik in form were investigated. And then a comparative analysis was conducted between our country and China.<br/>