우리나라 대구 · 대선금구에 관한 연구

윤양노 한국복식학회 1992 服飾 Vol.18 No.-

毛製品 깔개류의 기능성에 관한 연구 : 아시아를 중심으로

尹良老 服飾文化學會 1999 服飾文化硏究 Vol.7 No.6

Matting made of wools has a history which gose back even before B.C.7000, the time which is believed to be the starting point of the fabrication, production and usage of wools by the nomads in the Western and Central Asia who had made the living by breeding sheeps. The purpose of this thesis is to investigate the function of wool matting in Asia. The research period limited to 9C A.D. When classified by the method of production of wool matting, the pile method and felt method have been widely used by the nomads in Western Asia and the cattle breeding nomads in Central Asia consecutively. From ancient times, wool matting has been considered to be one of the necessities by the nomads for living in the wilderness, and even at present, continued to be used by the people both for the purpose of everyday use and decoration. Other than fore-mentioned purposes, wool matting have function that is expressed the incantation, authorization and hierarchy, emotion and desire, and cultural exchange between nations. In addition, wool matting had also been used as a mark to show ownership and for military purposes. Even a simple wool matting had a different symbolism and function by different region and people throughout Asia. However, by finding and studing further abut what wool matting had symbolized and how it had been used, the tradition and history of wool matting could continue to attract the interests which will make the tradition to continue. And also, in order for the tradition to continue, the utmost efforts to innovate and produce better quality and design wool matting to fulfil the needs of modern times are truly required.

전통 의생활과 색채문화

윤양노 한국가정과학회 2002 미래사회환경과 가정학 Vol.2002 No.-

1950년대 사회풍조와 한복 착용에 관한 연구

윤양노 국립민속박물관 2009 민속학연구 Vol.0 No.25

This study has describe on Korean females costume in accordance with change in society during 1950s through researching documents, records, pictures and finished fabrics of nylon in 1950s. In 1950s, relatively with a short period of time, many events took place politically, economically, culturally and in all areas, such as Korean War, separation of South Korea and North Korea and aid from U. S. Such changes, especially due to Korean War, have contributed to Korean traditional costume and material to face the second era to the modernization of costume. In relation to females costume and its culture, obvious changes were shown through establishment of fashion magazines, active social participation of fashion designers, prevalence and vogue of tailor-made dress shops and fashion institutions, simplification of traditional clothes and fashionable rock & roll dancing attires becoming ordinary daily fashion. Introduction and usage of Nylon and its finishing technique have spread widely, even used for Korean traditional attire ‘Hanbok’, and Nylon was once referred to as the ‘Fantasy Of All Fabrics’. As to females costume and its culture in 1950s, due to confusion between foreign vs traditional and American vs Korean has led to a peculiar and unique culture in dress and fabric by having to reciprocally accepting discords and conflicts.

『荷齋日記』로 본 개항기 의생활 문화

윤양노 한복문화학회 2014 韓服文化 Vol.17 No.2

This article aims at understanding the clothing culture of the period of opening a port. For research, this paper selected the HaJae’s diary and westerner’s perception from photo and art works, and on the evidence of it, The results of study are as follows: 1. More than 80 clothing-related items and the prices are mentioned on the diary. Numerous items amongst these are records for fabric, which will help textile research during the period. 2. There were both the unintended exposure and the concealment in which women showed their breasts and wore a kind of long hood and a head-dress in those days. 3. The ordinance prohibiting topknots were often violated at first because of Confucius ideology and resistance to Japan. As a result, demand for the mang-geon (headband) decreased followed by supplies, which eventually made the headband to be sold at high price or found with difficulty. 4. Due to trade induced influx of western fabrics and ordinance which required people to wear colored clothes, by 1886, western chemical dyes were already being imported together with Japanese dyes and Indigo. As we have seen, even if the HaJae’s dairy and the foreigner journals were reviewed on objective point of view, it is a very important data to understand daily life, the used articles and clothes culture during the opening of a port. If this result of research is used for a film or a drama which makes the age as a background like the contents, it would be used well as data to bring more sense of reality into the ordinary life style and setting the situation of the times.

백제금동대향로 주악상 복식재현을 위한 연구

윤양노 국립국악원 2011 국악원논문집 Vol.23 No.-

This article aims at preparing the basis for reappearing the costume of Juak statue through the figure on the great gilt bronze incense burner and restoring. Therefore, this study was tried to get the result of the costume of Juak statue within the relationship between religion, culture & politics and foreign relations and general costume by focusing the form of the incense burner, production and the meaning on the identity of Baekje The purpose of this study is to reappear the costume of a player for restoring the music of Baekje and playing as the Baekje cultural contents based on the figure of the statue, not investigating perfectly the costume of Juak statue. So we presented the both costumes for male and female player, even though this article was considered that all characters of Juak statue are consisted of women. This study was understood the costume focused on the historical material related with Baekje and examined the format of creation by the painting materials. It was presented the costume type of a female player based on the expressed line and silhouette by selecting 3 Juak statues which was comparatively expressed well the costume type for the costume reappearance of Juak statue. As the result of this study, we had reproduced the costume of Juak statue that a female player wore the costume which is consisted of two formats for Yu (襦, a Korean Jacket) and Sang & Gun (裳․裙, a skirt), and then wore Po (袍) that has the wider retail over it, and tied a Dae (帶, a belt) and surrounded Pyo (裱, a scarf). It was presented the figure of hair that was tied on the right side and fixed the same as the figure of Juak statue. For the costume of a male player, this study had specified the costume type based on the figure of the Embassador’s robe in the Baekje that was painted in the Yangjikgongdo and literature. It was presented the figure that had either Go (袴, trousers) with tying their ankles or without tying them. Especially, it was decided to be black for the Dae (a belt) based on the 8th rank, Sideok that was estate for the musicians who were sent to Japan during the King Seong of Baekje, because the color of Dae (帶, a belt) over Po (袍) was different in accordance with estate. We studied that the figure wore Gun (巾, a hood) of Byun (弁) type. This study suggests that for the completed tentative plan of a playing dress based on the contents above, the functional elements of the costume should be inspected and supplemented by creating and demonstrating based on both the aesthetic elements as a playing dress and a technique and a characteristic as the instrument. 이 논문은 백제금동대향로 주악상의 모습을 통해 주악상 복식을 재현하고 백제문화원형을 복원하기 위한 것이다. 따라서 향로의 형태․제작․주악상의 의미 등을 백제의 정체성에 초점을 맞춰 종교, 문화와 정치, 대외관계와 일반 복식과의 관계 속에서 주악상 복식에 대한 결과를 얻고자 하였다. 연구 목적은 주악상 복식의 완벽한 고증에 있는 것이 아니고 주악상의 모습을 근거로 백제 문화콘텐츠로서의 백제 음악을 복원하고 연주하기 위한 연주자의 복식을 재현하는 것이므로, 주악상의 인물은 모두 여자로 보여지나 실지 연주를 위해 남․여 연주자의 복식을 함께 제시하였다연구 방법은 백제 관련 사료를 중심으로 복식을 이해하고 회화자료를 통해 착장 형식을 살펴보았다. 주악상 복식재현을 위해 비교적 옷의 형태가 잘 표현된 주악상 3점을 선별하여 표현된 선과 실루엣을 근거로 여자 연주자의 복식 형태를 제시하였다. 남자 연주자의 복식은 문헌기록과 양직공도에 그려져 있는 백제 국사의 모습을 근거로 복식 형태를 정하였다. 연구 결과 여자 연주자의 복식은 유(襦, 저고리)와 상․군(裳․裙, 치마)을 2가지 형식으로 입고 그 위에 소매가 넓은 포(袍)를 입고 대(帶)를 띤 모습과 어깨에 표(裱, 목수건)를 두른 모습으로 재현하였다. 머리는 주악상의 모습과 같이 오른쪽에서 묶어 고정시킨 모습으로 제시하였다. 남자 연주자의 복식은 폭이 넓은 고(袴, 바지)를 발목을 묶거나 묶지 않고 그 위에 유와 소매가 넓은 포를 입고 대를 띤 모습으로 제시하였다. 특히 백제는 품계에 따라 포(袍) 위에 띠었던 대(帶)의 색이 달랐으므로 백제 성왕시기에 일본에 보내졌던 악인의 품계가 8품 시덕(施德)이었던 것에 기초하여 대의 색은 조색(皂色)으로 하였다. 머리에는 변(弁)형 건(巾)을 쓰도록 하였다. 이러한 내용을 근거로 완성된 연주복 시안은 착장과 시연을 통해 연주복으로서의 미적요소와 악기의 연주법과 특성에 따른 복식의 기능적 요소를 검증, 보완해야 할 것이다.

新疆地區 出土服飾과 毛織物

尹良老 중앙아시아학회 2004 中央아시아硏究 Vol.9 No.-

In history, an analysis of apparels and ornament has been ordinarily considered when an attempt to perceive and investigate a specific era has been pursued. Especially, studying the developments in clothing materials of an era has enormous contribution in understanding the degree of technological developments as a whole. From prehistoric to present, the invention and the development of natural fiber have been differently occurred. These timely differences have arisen demographically due to one's specific tradition, characteristics and natural circumstances. The Purpose of this study is to investigate using woolen clothing & fabrics in Xinjiang. Excavation of these relics in Xinjiang have been an useful evidence to verify the fact that it has been used in daily life as well as for paying taxes. It has been estimated that approximately in B.C 7000, the first woolen textile was produced in Anatolia. With the excavation of remains in Xinjiang, the fact that the highly developed woolen fabrics have existed around B.C.3000 has been verified. Such as felt(氈), loose woolen fabric(褐), fine woolen fabric(罽), tapestry and pile type fabric have been used from ancient times in Xinjiang. In ancient times, woolen fabrics has not only been to make apparels, but it has been used to make seals exchanged between the West and China.

『景慕宮儀軌』복식자료 연구

윤양노 한복문화학회 2005 한복문화학회 학술대회 Vol.- No.-

베트남 눙(Nung)족의 복식문화

윤양노 한국역사민속학회 2010 역사민속학 Vol.0 No.34

Traditional costume reflects sociocultural characteristic of the era and region, so it can be used to learn region’s custom, religion, aesthetic, and skill, as well as what it represents and symbolizes, and its social relationship as clue to understand culture’s spiritual value. As part of history and folklore, understanding of traditional clothes should be approached by focusing on specific ethnic group and its traditional clothes in culture. Nung people are one of ethnic minorities that reside in North Vietnam who have migrated from Quang Tay of China in 2~3 century. Nung people have the shortest history and smallest emigrants among other ethnic groups of Vietnam. After 1980s, as word ‘Ethnic’ became new issue, it heightened the interest in region-specific folklore that was passed down close to its original state and non-catholic traditional clothes rather than civilian-life based folklore. As many traditional clothes culture is disappearing, and very little is done to preserve and to keep record of traditional clothes, it will be very meaningful to research about ethnic minorities of Vietnam. This research covers Nung people’s form of traditional clothes, and how to put them on, sow and dye. Research was conducted through literary works as well as a talk with an old couple living in mountain that the researcher was able to meet when focusing the folklore research on northern region of Vietnam. This research was conducted from July 27th, 2010 to August 3rd, 2010. Result of the research indicates that traditional clothes of Nung people differ depending on gender and use, and both male and female traditional clothes are in two pieces, top and bottom. Male’s bottom piece is a very loose pant with tight ankle and top piece is stand collar open front. Female wears pants before marriage, but wears a skirt with a top that comes down to waist after marriage. Female’s daily life top has buttons on the right side like that of Chinese Chipao, but formal wear has open front like that of male’s and has silver buttons from top to bottom. The skirt has very unique way to wear it which shows Nung people’s characteristic. Marital status also effects woman’s hair style, as single woman has a bang and wearing wraps, married woman wear her hair in topknot and wearing wraps. There are different kinds of hair wearing wraps for daily life and formal. Formal occasions, it is characterized by angling the each side of the wraps. Nung people’s traditional costume may be simple, but within it contains a sign of social function. 복식은 시대와 지역의 사회․문화적 특성을 그대로 반영하고 있으므로 복식을 통해 그 지역 고유의 풍습, 종교관, 미의식, 기술 등을 읽어 낼 수 있다. 뿐만 아니라 상징과 의미, 사회적 관계의 구조로서 문화의 정신적 가치를 이해할 수 있는 중요한 단서가 된다. 역사학과 민속학의 한 부분으로서의 복식에 대한 이해는 그 민족, 그 문화 속에서 의복을 만들어 입었던 그들의 생활과 함께 이해하고 연구되어야 할 것이다. 눙(Nung)족은 베트남 북부에 거주하고 있는 소수민족중의 하나로 2~3세기 이전에 중국의 화남지방에서 이주해온 민족이다. 베트남의 다른 소수민족에 비해 이주 역사가 짧고 이주민의 수도 적다. 1980년대 이후 복식분야에서는 ‘Ethnic’이 새로운 주제어로 떠오르면서 민속적인 ‘folklore’에 비해 좀 더 토속적이고 비교적 원형이 간직된, 비기독교적 민족 복식에 대한 관심이 고조되고 있다. 그러나 이미 많은 민족복식들이 사라져 가고 있고 남아 있는 민족복식에 대한 원형 보존과 관련 기록 또한 미비하다. 특히 베트남 소수민족과 그들의 복식에 대한 연구 결과는 더욱 그러하다. 이러한 시점에서 이와 같은 연구는 매우 의미 있는 일이라고 생각한다. 본 연구는 2010년 7월27일부터 8월 3일까지 베트남 북부지역을 중심으로 진행된 민속조사 과정에서 산지에서 만난 눙족 부부와의 직접 면담과 문헌자료를 통해 눙족 복식의 형태, 착장법과 봉제, 소재, 염색 등에 대해 살펴보았다. 그 결과 눙족의 복식은 성별과 용도에 따른 복식이 구분되어 있으며 남녀복식 모두 상의와 하의로 구성된 2부식 착장이다. 남자는 사폭바지형태의 하의와 스탠드칼라가 달린 앞트임의 상의를 입고, 여자는 어려서부터 결혼 전까지는 바지를 입고 결혼 후에는 허리선 정도 길이의 상의와 허리에서 발목길이 정도의 치마를 입는다. 여자의 상의는 일상용은 중국 치파오와 같이 오른쪽 옆에서 매듭단추를 달아 여며 입지만 예장용 상의는 남자의 것과 마찬가지로 앞 중심이 위에서 아래까지 트임이 있고 은단추가 달려있는 전개형식(前開型式)이다. 특히 치마의 착장 방식은 매우 독특하여 눙족만의 특징을 보여주고 있다. 머리 형태는 결혼여부에 따라 미혼여자들은 앞머리를 내리고 두건을 쓰는 반면 결혼한 여자는 상투를 틀고 두건을 쓴다. 두건은 일상용과 예장용으로 구별하여 예장용의 경우 머리 위 양쪽에 각을 세우는 것이 특징이다. 이와 같이 눙족의 복식은 단순하고 소박하지만 그 속에는 일상과 예장, 결혼 여부 등 표식수단으로서의 사회적 기능이 내포된 복식문화가 전래되고 있다.

위구르 왕국의 복식에 관한 연구

윤양노 한국복식학회 1993 服飾 Vol.21 No.-