오페라 ≪황진이(黃眞伊)≫의 무대의상(舞臺衣裳) 디자인 연구(硏究) - 황진이(黃眞伊)의 내적(內的) 이미지를 중심(中心)으로-

신경섭 ( Kyeong Seub Shin ) 한국패션비즈니스학회 2000 패션 비즈니스 Vol.4 No.2

The purpose of this study was to research and design stage costumes of Whangjinie focusing on inner image of Whangjinie, present stage costumes of new image. Four steps were taken in order to achieve this purpose. The first step was to investigate the old documents and prior research about literature world of Whangjinie. The second step was to analyze stage costumes of Whangjinie which were worn in opera, movie. The third step was to design and make the stage costumes according to new images Whangjinie which were extracted from above two research results. The new images of Whangjinie are as follows 1. Whangjinie as a kisaeng(professional entertainer) She thirsted for new, materialistic love though she failed in love everytime. 2. Whangjinie as a woman. She had a hard time by feeling an irresistible yearning for lover 3. Whangjinie as a poet. She expressed as a poetry her vanity and loneliness of life. Using above three images, this study designed four new stage costumes of Whangjinie and two designs of them were made really. But this study didn`t present historic costume of her age but expressed modern mood in color and form.

19세기 웨딩드레스의 미적 특성에 관한 연구 -신고전주의와 낭만주의를 중심으로-

신경섭 ( Kyeong Seub Shin ) 한국패션비즈니스학회 2011 패션 비즈니스 Vol.15 No.1

The purpose of this study is to take into consideration the formative and aesthetic characteristics of wedding dresses that existed during the periods of Neo-Classicism and Romanticism which appeared as a reaction toward Neo-Classicism. The method of the research was mainly focused on precedent research data and general references. Furthermore the data on wedding dresses was mainly collected from British, French, and American library and museum web sites. The result of the research is the following. The Neo-Classicism art, which appeared along with the enlightenment in the beginning of the 19th century, pursues beauty based on associations and imitations of ancient Greek and Roman arts. In addition to aforementioned pursuits, the Neo-Classicism art also pursued universal beauty and social usefulness through law and order. This aesthetic value was also applied to the wedding dresses, so classical beauty, natural beauty and universal beauty were expressed as follows: corsets of the previous era were removed from general clothing and Empire style that imitated natural Greek style became predominant. Also, muslin replaced high quality clothes which were used as the main materials of the dressing during the previous era. Empire style`s wedding dress became popular and simple colors and styles of the wedding dress expressed the beauty of the human body and emphasized civility at the same time. Romanticism art and costumes opposed rationalism and pursued sentimentalism. Moreover, it pursued diversity, exotic tastes and accepted diverse reactionism unlike Neo-Classicism`s simplification and standardization. These aesthetic characteristic were applied to the wedding dress of this period; wedding dress of romanticism pursued feminine and elegant beauty with “X” silhouettes and various decorations, like general costumes. And they were decorated with a variety of excessive accessories, details and trimmings to express romantic sentimentalism. Exotic tastes which included Chinese, Egyptian, Indian influence and other diverse tastes were expressed through hair style, accessories and patterns of shawl. However, the white color in the wedding dress revealed purity and sanctity which cannot be found from general costumes regardless of whether the dress expressed Neo-classicism or Romanticism. As a formal dress worn during wedding ceremonies, the wedding dresses of the royalty revealed dignity and authority and significantly influenced later wedding dress designs.

한복 패션에 나타난 한국적 디자인의 조형적 특징 분석

신경섭(Kyeong-Seub Shin) 한국의상디자인학회 2010 한국의상디자인학회지 Vol.12 No.3

무대의상의 의미전달에 관한 연구

신경섭(Kyeong Seub Shin),조규화(Kyu Hwa Cho) 한국복식학회 1998 服飾 Vol.38 No.-

한국의 조우관과 중국의 갈관 비교연구

신경섭(Kyeong Seub Shin) 한국복식학회 2000 服飾 Vol.50 No.4

The purpose of this study was to research Korean Jowoo-Guan and Chinese Hal-Guan and study transition and symbolism of the birds feather in the cap. The culture of ancient Korea was influenced by North Asia prior to the influence of the Chinese culture. One of the remarkable thing, as the cultural factor of North Asia is the birds worship thought. Korean Jowoo-Guan was derived from the birds worship thought. So in dealing with the plume of Korean Jowoo-Guan, we must recognize Worship to the bird and the symbolical meaning of the bird. The results of study was as follow. 1. Korean Jowoo-Guan was influenced worship to the sun, so it`s wearing symbolized the governing class. As the Social development and governing class, the feathering cap was developed to a gold crown, and also the gold crown of Samguk times had been influenced style of North Asia culture. But afterwards the symbolical meaning of the bird was waning, only decorative meaning was remained. 2. Chinese Hal-Guan was worn in Joo-dynasty, but the symbolism of the plume in the cap was not similar to Korean Jowoo-Guan. Chinese Hal-Guan was symbolized bravery of superfluous soldier than Worship to the bird. But afterwards the symbolical meaning of bravery of superfluous soldier was waning, only decorative meaning was remained. 3. Though neighbor countries have mutually influenced and have similar cultural style, they have symbolism of themselves

중국 경극복식 연구 Ⅰ

신경섭(Kyeong Seub Shin) 한국복식학회 2010 服飾 Vol.60 No.8

연개소문 인물 형상 연구

신경섭(Shin Kyeong Seub) 한국동양정치사상사학회 2008 한국동양정치사상사연구 Vol.7 No.1

최근 민족주의 정체성에 대한 연구와 더불어 역사인물에 대한 중요성을 재인식하고 재평가 하려는 시도가 이루어지면서, 주몽을 비롯하여 연개소문, 대조영 등 새로운 시각의 사극이 방영되었다. 역사 속의 영웅들에 대한 재조명은 왜곡된 역사 속에서 우리 민족에 대한 새로운 자긍심을 고취시킬 수 있다. 특히 연개소문은 중국민간 문학에서 당 시대 이후 오늘날의 경극에 이르기까지 다양한 문학형태로 변화, 발전하면서 세인의 관심을 끌어왔다. 세계화를 지향하는 국제화 시대에 가장 가까운 이웃 나라 중국에서 평가하고 있는 연개소문의 대한 올바른 정체성 확립은 꼭 필요한 연구이다. 본 연구는 중국 민간문학에 나타난 연개소문의 인물형상을 연구하여 그의 정체성을 재조명하고, 동시에 중국 민간문학 발전사에서 연개소문이 차지하는 중요성에 대해 새로운 가치를 부여하고자 한다. 이를 위해 연개소문과 당 태종, 설인귀에 대한 역사기록을 살펴보았고, 이 역사기록을 바탕으로 만든 각 시대 문학작품들의 줄거리 구성과 주제를 비교 정려하였다. 그리고 이들 문학작품에 묘사된 글과 오늘날 경극과 지방희극에서 공연되는 연개소문 관련 극들을 통해 중국인들이 생각해 온 연개소문의 인물형상을 고찰하였고, 끝으로 국제화시대에 자국민의 의식을 높이기 위한 문화상품으로 내놓은 중국의 경극과 지방회극에서의 연개소문 관련 극에 대하여 한국문화 단체들이 좀 더 관심을 가졌으면 하는 바램과 더불어 학계에서 연개소문 관련 고사에 대한 지속적인 연구가 이루어지길 바란다. Chinese've been attracted to Yean-GaeSoMoon(淵蓋蘇文) all along, so Yean-GaeSoMoon has been described as a general in the Chinese popular literature, Peking Opera and other local operas. The purpose of this study was to review his figures in Chinese popular literature and establish his identification which wrongly described long time. In these plays Yean-GaeSoMoon and Xue-RenGui(薛仁貴) has been heros, but Yean-GaeSoMoon as a Xue-RenGui's counterpart has given a picture as a fierce general of eastern minority who likes to fight. They were symbolized as special figures in the Chinese popular literature, Peking Opera and other local operas. Yean-GaeSoMoon was symbolized as 'the flying sward that has power (飛刀), the blue dragon'(靑龍) and 'the red gown(紅袍). Xue-RenGui was symbolized as the powerful arrow(神箭), the white tiger'(白虎) and the white gown(白袍). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national spirit and the greatest hero of the age and a charismatic politician who combines literary arts with military arts. Finally, I suggest that authorities of culture and history continue to work on studying about Chinese popular literature, Peking Opera and other local operas which he has been appeared.