조선시대 감로탱화 풍속장면의 복식 연구

양숙향,이태호,이경화 한국의류산업학회 2003 한국의류산업학회지 Vol.5 No.5

The Gamrotenghwa of the Choson Dynasty is a unique genre of buddhist painting in that the destiny of the dead souls and the guidance to nirvana are expressed in reality. More than 50 of the Gamrotenghwa are known to he present, and the lower part of the paintings includes a wide assortment of folk customary scenes reflecting the social life style of the time when the painting was drawn, such as difficulties in life, public life, punishment and war. Changes in the costume of the people shown on the customary scenes of the Gamrotenghwa according to the time based changes in painting style were investigated in this study. The results are summarized in three points. First, the costumes of bureaucrats showed a tendency of preservation without any major changes in the painting. On the other hand, costumes of public and entertainer in the scenes were very close to those worn by the people at that time. The realistic description of public life in the painting may establish the value of the Gamrotenghwa as the historical documents. Second, the costume of the people in the painting showed a dual structure as the social positions; bureaucrats wore various official hats, large coats and belts to expose their social prestige, while the general public wore simple and convenient clothing which is divided into shirt and pants. The dual structure of the costume in the painting is in well accordance with that of the later period of Choson dynasty, suggesting that the customary scenes in the painting represent the social life style of the period. Finally, the customary scenes in the Gamrotenghwa are very variegated, which shows a variety of beauty of wearing even though they look coarse in a sense. The diversity of wearing beauty in the picture may contribute to the recreation of the beauty of shape in the new design of Hanbok.

朝鮮 後期 風俗畵에 나타난 男子 便服袍의 種類와 變遷에 관하여

양숙향,강영의 順天大學校 1996 論文集 Vol.15 No.1

Genre paintings that depicted everyday lives were in fashion during the later period of the Choson Dynasty. Sil-hak (positivism or practical science), a school of philosophy of that time, studied realistic problems based on self-consciousness and raised interest in the history, culture, and geography of Choson. Sil-hak also influenced the people of that time to develop chin-kyong-san-su, a style of painting which described the landscape of Choson in its own unique way of expression. Genre paintings of the Choson Dynasty seem to show pictures of everyday lives and cultural events of that time in a very detailed realistic way. In this sense, they also described the everyday lives of Korean men of the same period and the variety of their clothes. Today, we do not know much about the lifestyles and the clothes of that time, even though it was only a century ago. This study attempts to identify and clarify the varieties and changes in pyon-bok-po (men's everyday attire) by closely studying genre paintings of the later period of the Choson dynasty. It contributes not only to promotion of modern people's understanding of the history and tradition of Korean garments, but also the preservation of Korean traditional costume, one of our cultural heritage. It will also contribute to making Korean garments more practical by continuing the tradition.

조선후기 풍속화에 나타난 여성의 생활상과 복식문화

양숙향(Yang Suk Hyang),이혜경(Lee Hye Kyeong) 한국지역사회생활과학회 2007 한국지역사회생활과학회지 Vol.18 No.2

광주 출토 16세기 답호의 봉제법과 구성상의 특징에 관하여-하천 고운 분묘 출토복을 중심으로-

양숙향(Yang. Suk-Hyang),서명희(Sea. Myung-Hee),박양경(Bark. Yang-Kyoung) 한복문화학회 2001 韓服文化 Vol.4 No.4

This study Is on the sewing construction of the Dapho in 16th Century excavated from Tomb of Hachen 00, Un. It Is to examine that the form and sewing construction at reconstruction process of the Dapho to be been excavated first time in Owangju . Chonnam local among relics of special exhibition opened in Owangju folklore museum the last year winter.<br/> Three Daphoes are raw cotton one layer Dapho, raw ramie one layer Dapho, brown silk two layers Dapho. It appear generally big size cotton cloth more than in length size ramie cloth and two layers Dapho more than one layer Dapho. Others are similar nothing but It is some difference.<br/> A trait of sewing construction is divided and analyzed comparison by one layer Dapho and two layers Dapho that special Quality is classified. Sewing process Is each other similar but one layer Dapho matches backstitch and running stitch properly, it Is supplementing well shortcoming of one layer clothes. The other side. two layers Dapho does distinguish continuously widely running stitch after separately complete the lining and outer cloth. The common of construction is Kalklt of double collar to outside and Mokpanklt to Inside. Also, Form of gusset Is linked with side that was folded to inside from part that sense of beauty( ~ ~) of delicate three, five, seven decorated top stitches by ratio made evoke admiration to this on front " back connection part from inside.<br/> Difference on construction can say first clothing pad of shoulder that only exist to one layer Dapho to supplement weak part of back and shoulder. Also, clothing pad of gusset only existed to two layers Dapho, this is conjectured that might be in purpose to fix weight of dress. Also collar, one layer Dapho is piled UP to three folds tuck of bodice to part linked with collar, that shape of collar is to stabilize, sewed part do not expose simultaneously.<br/> <br/>

조선시대 수노리개에 나타난 표현 특성에 관한 연구

양숙향(Yang Suk Hyang) 한국지역사회생활과학회 2011 한국지역사회생활과학회지 Vol.22 No.1

조각보와 매듭을 활용한 전통 배자 디자인 개발

양숙향(Suk-Hyang Yang) 한국의상디자인학회 2014 한국의상디자인학회지 Vol.16 No.4

檀園 金弘道의《風俗畵帖》을 통해 본 18세기 民間의 服飾과 生活相

양숙향,강영의 順天大學校 1997 論文集 Vol.16 No.1

The traditional clothing style of our nation's people has been modified and adjusted to our climate and customs of daily life for both common and upper class people. And genre painter Danwon Kim Hong-Do vividly expressed fashion or life styles of the people in the 18th Century with Korean wit and mood. Through his painting Pungsokhwachop (genre painting), this study examined the fashion and life style of the people in the 18th century. In the painting, men generally wore a topknot and wore a manggon (horsehair headband) on the topknot. They were a Jogori (Korean jacket) as an upper garment, Korean trousers as a lower garment and wore straw shoes as a footwear. But the upper class people wore different hoods of Kats on their heads and wore Korean full-dress attire in addition to a Jogori and trousers, depending on their social status, job and season. Single min's clothes were similar to those of married men, except that they wore a pigtail ribbon. And younger boys had a disheveled hair style, letting their hair grow long. Upper class women didn't appear in the painting. Most women from common families wore their hair up and wore a Jangot (a kind of long hood) as headgear. Generally, the Jogori, worn as an upper garment, came down to the waist line in length. For lower garments, they wore a skirt with a broad upper waistband in addition to trousers and they wore straw shoes as footwear. They also modified the style depending on their wealth, job and season. In particular, young ladies and breast-feeding women wore Jogoris whose length came down only to the nipples and they wore skirts in a different way. Girls wore their hair in braids and wore Jogoris and skirts similar to those of ladies from common families. Children wore long Jogoris and trousers coming down to the hip. But occasionally they wore only upper garments with two sides open or short Jogoris with half-sleeves. We can find various styles worn by different classes such as musicians, priests and dancing boy.

조선후기 풍속화에 나타난 민간의 생활유형별 복식문화와 사회상 - 단원 김홍도의 ≪풍속화첩≫을 중심으로 -

양숙향(Yang Suk Hyang),김나형(Kim Na Hyung) 한국지역사회생활과학회 2004 한국지역사회생활과학회지 Vol.15 No.1

조선후기 여자 일상복의 변천에 관한 연구

양숙향(Suk Hyang Yang),김용서(Yong Seo Kim) 한국복식학회 1998 服飾 Vol.39 No.-

The objective of this study is to examine the costumes of the period covered in the writings of Shilhak (practical science) scholars and to research the history of costumes and their characteristics by examining how they are worn in genre paintings which are said to describe the actual life of the period. This should be studied in order to correctly establish the history of costumes. To begin with, through the writings of the representative Shilhak scholars who are thought to have affected the changes in ordinary costumes for woman, this study examined how ordinary woman of the period looked in their costumes and how they regarded various costumes they had. Then, how their viewpoints of costumes influenced ordinary costumes was investigated. Not only relics, but what was commonly worn, as they appeared in the genre paintings that contain information about daily living of that period, were researched chronologically. The results of this study showed that the change in ordinary costumes for woman in the late Choson period was affected by Shilhak scholars who had ideologies of Shilsakusi (use of positive methods in studying), Yiyonghusaeng (the promotion of commerce and industry and the development of techonologies), and Kyo˘ngsech`iyong (pursuit of stability in a rural economy). Moreover, after those changes there were many more changes. However, the criticism of costumes of that time and the will of revolution affected a partial change in costumes, and after some time, costumes changed directly. The forms of the costumes had been changed in a variety of ways following the tendencies of the times, but the origin of today`s Hanbok (Korean traditional dress) had already been fixed in the late Choson period. Yet, today`s hanbok are for special occasions, not worn as ordinary clothing. Thus, there are several reasons why the hanbok is not suitable for daily life. One of the reasons is that Koreans could not cope with the western costumes independently imported during Japanese occupation in the last period of the Choson Dynasty and continuing the Japanese Colony. Thus, only a part of the ordinary costume of the late Choson period has remained until now.

애견의상 디자인 개발에 관한 연구

박선영 한국의류산업학회 2005 한국의류산업학회지 Vol.7 No.3