바로크 복식의 구조분석

尹点順 湖南大學校 1997 호남대학교 학술논문집 Vol.18 No.2

Costumes are that people synthesize bodies, the objects of costumes. It becomes the sign and the meaning is made according to the sign. That is the synthesized structures combined by the interrelated structures of outer garments and undergarments display the general silhouette, the compositional features of the costumes became the sign and that have meanings of that became the meaning. So to the meanings of the features are given to the forms and designs of the costumes as same as language. Using these structures, I took a look at the Baroque costumes of man and woman that siqnify distorted purposes. I selected each costume of man and woman that can display the features of these days best in the tables of 2-1 and 2, the interrelated structures of the Baroque costumes, and showed them in the 3-1, 2, the synthesized structure. It was composed with some interrelated elements of the costume, Of these interrelated elements, we think pourpoints, the upper clothes, as central elements and selected manteaus, rhingraves, chemises, and shoes that have common meaning with the compositional features of these central elements. Woman's costumes, in the table 3-2 are composed with a few interrelated structures as same as man's costumes. And they selected the upper clothes, the interrelated elements, that have common meaning with the compositional features of these central elements by making lower clothes skirts as the central elements of these interrelated elements and selected chemises and hair styles, the rest interrelated structures by these upper clothes. In the Baroque costumes by the analysis of the structures, the uses of pads and corsets were diminished and the uses of decorations were increased excessively. In the man's costumes, we can see rich wigs, pourpoints similar to boleroes, skirts with much margin, colourful bunches of ribbons among rhingraves, bunches if ribbon loops attached to rhingraves, cammons, flat wide high heeled of ribbon loops attached to rhingraves, cammons, flat wide high heeled shoes, and so on. And in the woman's costumes, we can also see softness of textiles, beauty of colours, freedom of forms made by wearing a skirt upon another, dynamic diversity, and richness. And the elegant movement, made by the decorations of collars and the ends of sleeves, are very attractive. That is, contrary to the man's costumes, expressing odd and strange image with excessive decorations, women's costumes created soft, elegant, and general beauty.

바로크시대 여성복식의 기호학적 구조분석

윤점순 호남대학교 2000 호남대학교 학술논문집 Vol.21 No.2

The meaning of a woman's costume at the Baroque Period was that the analytic bodies of an outer garment in the several ways, especially the forms of the stomacher and peplum that were the ornaments over the breast, were various. That is, it was a distinctive feature that analytic bodies were developed variously. The central analytic elements of the synthetic structure all used Gown, the upper and lower clothes, and hair decorations were more various than hair styles. The kinds of shoes and accessaries, embroidered in silk, were various. So we can see the costume of this period was brilliant, that is, the forms of the costume were changed according to the constituent elements, and the changed forms showed the meaning of the social positions, classes, and professions of the dressers at the period.

르네상스 복식의 계열구조와 통합구조 연구

윤점순 湖南大學校 1996 호남대학교 학술논문집 Vol.17 No.2

The basic theory to comprise all the sign bodies is explained by allthe analytic and synthetic structures. The analytic structure is the relation of composed elements possible for being substituted and having acommon characteristic, and the synthetic structure implies those units selected from the former directis to a whole by being bound with other ones. It is called as selection limitation that the selected units do not bind each other when fulfilling this synthetic structure. I using these structures would like to compare the costume in the era of Renaissance, implying rebirth of humanity, I have selected each one of men's and women's costumes which can expose mostly the character of the era, and I have suggested analytic structure in Tables 1-1 and 1-2, and systhetic structure in Tables 2-1~2. The comparative conclusion of analytic and synthetic structures in two eras clothings are as follows Men's clothing the peascod-belly style with pad is composed of the stiff and fastened outline of a leg and codpiece, which illustrates men's power and authority, women's clothing, decorated with jewelry and pearl shows authority and nobility with fight jacket and the swollen underwear. That is to say, man's costume has the silhouette of heavy upper part and light underpart, but women's coustume light upper part and heavy underpart. These show up the contrastive forms each other and the sexual differences of man and women come into fashion as the objects of exterme attractions, If characterizes the Renaissance clothing.

프게데릭 워르트의 作品 世界와 크리노린 時代의 服飾

尹點順 湖南大學校 1986 호남대학교 학술논문집 Vol.7 No.2

Since the bourgeoisie's revolution in France broke out, the bourgeois culture effloresced in the capitalism have developed in the midst of the conservative and progressive culture. And thus, It have included more reality than nobility and brilliance in the bottom. The trend gained fruition up to the late of the second imperial government in the all side of culture, and it brought rapid development in modern culture building. Rapid and wide develoment of science, Art and Culture was progressive of capitalism. As the result of it, the nobility and brilliance was wanted in the dress and oranments, whichwas changed with reality from the late of about 1860. In the period of napoleon , the Recoco style was restored because of the esire for aristocratic atomsphere of 18c. because female's dress much more changed than male's dress, this study was centered on the latter. The Recoco mode seemed restored because womanly feature emphasized on the slim waist and the enlargement of skirt width. being the enlargement began in 1845, the skirt much more enlarged in about 1850 than before and it sewed decoration on the skirt. It was attached cloth decoration and Embroidery and so on in contrast to the skirt. Accroding to circumstances, beroad Ribon or enbroidery decoration was attaced on the skirt. A sleeve was important factor which was given on the dress with fantasy and endless change. In 1845, A sleeve was generally thin and iong one, but later changed with thick and short one, and became, depend on circumstances, long and wide one. Later, pagoda sleeve was prevalent up to 1950. And, the round of the neck was dangled with the lace ribbon frill embroidery and the variety of embroidery. idly digged decollete won popularity in social circles. Crinoline dress had gained popularity for 20 years, prompting the bourgeois' luxury and peaked up popularity in 1960 and later reduced after that. In the late of 19C, luxurious crinoline was reappearence of airstocratic dress in the course of buildy of functional modern dress. Worth opened the boutique and exhibited the creation dress collection and sailed it for customers. As the result of it, it was based on the management method of modern Haute couture. Therefore, he was called "The Creator of paris Haute Couture" because Haute Couture then producted dresses for customers, Young women's bodies picked up for the exhibition of those works, was similar to the customer's. Worth made emphasis upon the traditional Freach elegancy, but avoided excessive ornaments. His color printing included white, pearl, and the grey with image. They was all romantic light and made the elegancy high, characteristic, and womanly rather than ugly, heary,and painful. Worth was the producer of cirnoline mode. He recalled that it was a bright taffeta which included a three-mixed color ranging from a dank lilac to a bright violet, and the completed dress was like a bunch of a giant azalea, Though it was not sure that he had the thought of the develoment of the Lyon silk fabric industry, the social evironment was the second imperial government that was accepted the idea of haute Couture sincerely. The crinoline period seemed to be Worth's. That made was a prevailed one from 1854 to 1867. Worth's design was picked up by the queen YuJeny who had a spanish taste and became a designer of the Royal house hold. His splender Salon was exclusively used by not only the French Queen but also Queen Elizabeth of Frassia, Queen august Prussia, Queen Victoria of the united Kingdom, European Royal Families, and the other Eyropean upper class and the Women of the American bourgeoisies who visited to paris on a Atlantic regular line used that salon.

18世紀의 服飾과 文樣에 대한 고찰

尹点順 호남대학교 1987 호남대학교 학술논문집 Vol.8 No.2

The culture of saloon was developed centering around Paris during the regency of the Prince of Orleans Philips, and after the Palace was moved to Versailles under Louis ⅩⅤ, the refined and graceful Rococo style added with the rectilined elements according to the Russian taste of Madame Pompadour and chinoiseri formed and there mixed with classical taste in the end of the kin. In the last monarch Louis ⅩⅥ the magnificent, graceful, and elegant Rococo style prospered with the rococo elements and the classical motifs reflecting the taste of Queen Matrie Antoinette. The Rococo characteristic was illustrated in the detailed decorations over the walls and the ceilings of architecture, or in the interior decorations. Graceful arabesgue design, hell design, and chinoiseri were fashioned in Rococo designs.

로코코 藝術樣式이 18C 服飾에 미친 영향에 관한 연구

尹点順 호남대학교 1990 호남대학교 학술논문집 Vol.11 No.2

The most brilliant period of Rococo Style is the middle of Louis XV and the beginning of Louis XVI. Entering to the 18th century, after Louis XV reigned, most people refused formality and heaviness. They wanted to enjoy shallow pleasure and called for something free wild, unrestrained and exceptional on art and lives. The Rococo Art style, based on this cultural trend was reflected on fashion directly. Because the Rococo style gave the first consideration to the life of a private person, used Rocaille, a special sculpture style, Rococo ornament that laid emphasis on the interior of a room. And so buildings were composed to be pictorial rather than constitutive. Crafts, furniture, and porcelain used beautiful, brilliant, and rhythmical curves, a Rococo characteristic. And costume brilliantly used ribbon, flowerage, lace, and embroidery. They were decorated chiefly on a breast and a skirt concentratively, and gave throbbing feelings because so many flowers and curves was lined like waves. Like this Rococo peculiarity, beautiful brilliant and rhythmical curves, wear appeared on costume and art in common.

르네상스 시대 여성 복식의 구조적 분석

윤점순 호남대학교 1999 호남대학교 학술논문집 Vol.20 No.2

A distinctive feature appeared in the woman's costume in the Renaissance Period was that the kind of the costume was few, but the form of a gown, the analytic body of an outer garment, was various. As it were, a form comes differently according to a constituent element and a meaning is differed according to a form. The wearer of a gown was different. It expressed the meaning of a social position and had the meaning as an upper and under clothes of a woman's outer in the Renaissance Period and the classed of the royalties, nobilities, and harlots were distinguished. In the syntactic structure, all the syntactic kinds selected and wore gowns, one pieces of an outer garment, as central analytic elements. And harlots nearly did not wear underwears, but all the royalties and nobilities wore them. Hair style was all braided, or foreheads revealed. Hair decoration made by all the woman except harlots and Isabella showed social positions. Chopine was worn as a footwear except harlots. And the ornaments of slashes or pearl necklaces were same in the subjects, but different in the forms according to the classes of their social positions.

人體美를 極化시킨 르네상스時代의 服飾에 관한 考察

尹点順 호남대학교 1991 호남대학교 학술논문집 Vol.12 No.2

The Renaissance was the revival of learning and the cultural movement meaning the restoration of humanity dizgusted with the christian of the middle ages. There were made human central modes different from God central culture in csotumes, not to mention paintings, sculptures, and constructions in reality because this movement mostly aimed at the respection of nature and the liberation of an individual and idealized the ancient art and literature. In other words, the characteristic of the costume of the Renaissance was to make the exaggerated silhouette until the functional beauty was emphasized and the beauty of human body was transformed. Women made exaggerated hourglass silhouette as they tightened their waists slimly, increased the volume of a skirt large, and could emphasize this silhouette more as they put sleeves some swelling pads. Men swelled their shoulders and breasts large by putting pads into them to appear the dignity and the force of men. And they tightened their waists slimly to emphasize the beauty of swelling more. The big characteristic of the Renaissance were in a slash and a ruff coller. A slash was a design motif conceived in a military uniform and was used by men and women labitually in common, Especially on the sleeves and upper garments of men were slash ornaments of various tyles. And the rhythm of elegant lines and regularly arrangedleats of ruff collars harmonized so well with the silhouette and the rhythm of the whole costume, that they could make the costume of the Renaissance more beautiful.

고대 이집트 복식의 구조분석

尹点順 호남대학교 1997 호남대학교 학술논문집 Vol.18 No.4

The Ancient Egyptian costume is as follows, as a result of the consideration comparing the analystic with syntheticd structures. In the analystic structure of the costume, the analystic elements of man's outer garment in the Egyptian era are kalasiris, a loin cloth, that is Kilt, and the analystic element of the hair style and decoration is wig Uraeus, of the shoes is Sandal And those of the ornaments are passium collar and Shendot. In the analystic structure of woman's costume, the analystic element of the outer garment is kalasiris, of the hair style and decoration is wig diadem, and of the ornament is passium collar. The result of this consideration in the synthetic structure is that in the tables 3-1, 3-2, other analystic elements are selected and combined according to the structural features of the central analystic elements in the analystic elements. Comparing the analystic systems of man ana woman, man's costume has more analystic systems than woman's costume. And it can be seen in the synthetic structure that man's costume is combined in more analystic systems than woman's according to analystic systems in the analystic structure, too. This shows that the Egyptian liked authority very much and expressed it mainly through costume. And we can see King's costume is a more various and brilliant form than Queen's. Wide long elegant drapery style costume, gigantic wigs, hair decoration, and metal or naments put on the body everywhere can be considered that they reflected these psychology.

로마네스크 시대 남성 복식의 구조적 분석

尹点順 호남대학교 1998 호남대학교 학술논문집 Vol.19 No.2

This study has resulted in the following applying the form and meaning the man's costume in the Romanesque era to the theory of structuralism established by Saussure and the extensive and contained meanings of Roland Barthes. The kinds of man's costume of the Romanesque era were not various but those of the royal family and aristocratic class were more various and decorated better than the lowly persons. So their social levels could be differed by the forms of the costume they wore. Each form of costume was differed according to the structural elements and showed the feature that the form is the costume of the era and social position's differences of the wearers' sexes, levels, and vocations in the same era. Costume's analytic body was the costume's form selected according to the central analytic elements, this showed the meaning of the era's levels and classes. What was meant on the syntagmatic structure was the following two sorts, the selection on the paradigmatic structure and the combination on the syntagmatic structure. On the syntagmatic structure, mostly tunic was selected and worn as the central analytic element of the man's costume in the Romanesque era. But only the King of the statue at the gate of the Sartre Cathedre used bliud, the lowly person wore breeches, and the royalties hose, and so classes were divided. Hair style was mostly short bobed hair. The king demonstrated the class of the royalty with a crown on his head, the lowly person hood, and the nobilities coif for hair decoration. so they showed their classes. Shoes were leather half boots and decoration was tow sorts, girdle and fibula. That is, the costume's structure was reflected by the era's features. On the structure of the man's costume in the Romanesque era, many religious features were emphasized and the elements forming each analytic body were classified and meant the society's features.