관광숙박업의 생존율 결정요인 분석과 정책적 시사점

이순학,박문수 산업연구원 2018 이슈페이퍼 Vol.- No.-

대승불교 전파경로의 불교미술에 보이는 袈裟 유형 연구

이순학,김용문 중앙아시아학회 2023 中央아시아硏究 Vol.28 No.2

The ‘Kasaya (袈裟)’ are costumes worn by Buddhist practitioners. It is composed ‘Sam-ui’ of the Antarvasa (安陀會), Uttarasanga (鬱多羅僧) and Saṃghati (僧伽梨). The structure of the ‘Haljeol (割截)’ is different depending on the purpose and rank. The ‘Kasaya’ go through various changes as they flow from India through the Western Regions to China and Korea, that is, into Mahayana Buddhism. The purpose of this study is to research the changes in the type as the ‘Kasaya’ spread to China through the West, along with Buddhism that began in India. The research method extracted names related to the type of ‘Kasaya’ in the literature of Buddhist scriptures, and classified the types by conducting empirical studies on the ‘Kasaya’ worn by Buddhist monk's statue and Buddha statues among Buddhist art in Mahayana Buddhism. The types of‘Kasaya’shown in the this study are ‘Sam-ui (三衣)’, ‘Haljeol-ui (割截衣)’, ‘Man-ui (縵衣)’, ‘Cheopsang-ui (貼相衣)’ and ‘Nap-ui (衲衣)’. Sam-ui is called a partial type of ‘Kasaya’ because it made by connecting carved fabrics has rectangular shape. The ‘Man-ui’ is composed of a rectangular fabric itself, the ‘Nap-ui’ is the Bunso-ui made by ragged clothes, and the ‘Cheopsang-ui’ is a type of fabric that has the shape of a rice field image by adding pieces fabrics compose leaves or sections on the ‘Man-ui’. The types of ‘Kasaya’ seen in Buddhist art in the route of Mahayana Buddhism's transmission change according to the characteristics of the region. The Mathura and Gandhara regions of India are mainly seen wear ‘Sam-ui’ in the type of ‘Man-ui’. The ‘Kasaya’ types are first identified; of the partial type are from Kumtura cave (the 4th ~ 11th centuries), the ‘Cheopsang-ui’ type are from Donhwang cave in the Northern Wei Dynasty (386∼534) and the ‘Nap-ui’ type in the Donhwang cave during the Sui Dynasty (581∼619). In this way, it can be seen that the partial type of ‘Kasaya’ stipulated in Yuljang began in the Kumtura cave and spread to China along the Silk Road. Additionally, influencing on the location and environment, the pattern of clothing changed to wearing support clothes such as Danryeongpo, Pyeonsam, and Jikryeongpo in the ‘Kasaya’. The style of clothing has now been established and inherited as Jangsam in Mahayana Buddhism.

高麗時代의 紋樣을 응용한 직물연구표현 연구 - 高麗佛畵를 中心으로 -

이순학 한복문화학회 2005 한복문화학회 학술대회 Vol.- No.-

출토복식에 나타난 여밈 형태를 활용한 여성복 디자인 연구

이순학,금종숙 한복문화학회 2020 韓服文化 Vol.23 No.3

Excavated artifacts have many kinds of costumes, and numerous research developed the use of contemporary clothing design with the diversity of the morphological characteristics of the excavated costume. Most of the studies researched the shape of official uniforms and hyungbae and hanbok, but there are not many studies that examine the components of the costume. The purpose of this study is to analyze the types of closures for po, men’s outer robe, and to recreate po inspired women’s tops. Thus, this study contributes to the expression of the Korean image. The results are as follows. First, The types of closures in men’s clothing relics such as dallyeong, cheollik, bangnyeong, acjurumpo, and jingnyeong were investigated. The closures were categorized as gorem and button. Second, among the tops worn as daily clothes of contemporary women, the design consisting of a jacket and best-looking closures was selected, and the fabric material was vertical silk. The color was naturally dyed to preserve the traditional image. Third, six pieces were created. The directly attached types were one pair gorem, two pairs of gorem, and twisted gorem. The indirectly attached type is made of two pairs of ring gorem, and the button type is made of a yeonbong (Lotus Bud) knot and a double yeonbong knot, which is considered to have a sense of stability and aesthetic efficiency in the form of the closure. The results of this study will help us to utilize the various form characteristics of the excavated costumes in contemporary society.

近代 以後 紅袈裟 제작에 관한 연구

이순학 한복문화학회 2012 韓服文化 Vol.15 No.2

Buddhism is one of mainstream of spiritual culture in Korea, and Buddhist ideology and doctrine are inherent in the costume of Buddhist monks who uphold it. Today each Buddhist sect adheres to its own Buddhist costume as distinct from others, but the original form doesn't considerably deviate from tradition. Simply put, current Buddhist costume is governed by Buddhist ceremonies and purposes unlike the previous one for hierarchical distinction of Buddhist priests in the Goryeo era when Buddhism flourished. This study looked at the composition and characteristics of red robes of Buddhist priests based upon the portraits of high priests of the late Joseon era and five red robes of Buddhist priests from the 19th century through the mid-20th century possessed by Seokjuson Museum, Dankook University. Moreover, it produced the red robes of Buddhist priests using cutting and sewing techniques which are even now accepted. According to the portraits of high priests and robe relics, red robes of Buddhist priests seem to have persisted until now after undergoing the late Joseon era and the modern period. In addition, such production of robes of Buddhist priests offers symbolic implications for the whole process ranging from cutting to completion rather than a simple sewing activity for finishing the production of clothing, thus it can be constructed as a holy relic.

스테이케이션의 등장과 정책적 시사점

이순학 한국문화관광연구원 2018 한국관광정책 Vol.- No.74

운동부하 심전도 검사에서의 혈압 반응과 고혈압 및 심혈관 질환 발생의 위험도 평가

이순학,박의현,이상혁,장세용,양동헌,박헌식,조용근,채성철,전재은 대한심장학회 2007 Korean Circulation Journal Vol.37 No.6

1인 여행객의 국내 여행 행태분석과 시사점

이순학 산업연구원 2017 연구자료 Vol.- No.-

B2B 트래블테크Travel-tech 기업의 부상과 정책 시사점

이순학 산업연구원 2023 월간 KIET 산업경제 Vol.- No.294

벡터 그래픽(Vector Graphics)을 적용한 납가사(衲袈裟) 구성법 제안

이순학,최연우 한복문화학회 2023 韓服文化 Vol.26 No.4

Kasaya originated in India and was introduced to Korea. It is divided into the Man-ui type, Nab-ui type, Haljeol-uitype, and Cheobsang-ui type. Among them is the Nab-ui type, which refers to Nab-Kasaya, made by stacking fabric pieces. Nab-Kasaya in Korean literature is Nab-ui, Manab, and Nab-Kasaya, which continue to appear from the Three Kingdoms Period to the Joseon Dynasty. In addition, the type of Nab-Kasaya during the Goryeo Dynasty was also identified in phase-change diagrams and Arhat Paintings. However, since most of the Kasaya of Korean relics were created after the mid-Joseon Dynasty, there is no Nab-Kasaya, and based on the limitations of these actual materials, a more comprehensive understanding of Nab-Kasaya composition in Korea is needed. This study endeavors to analyze the compositional variations evident in Nab-Kasaya artifacts preserved in the Shōsōin and Tokyo National Museum, thereby deciphering the underlying composition method and proposing a production technique utilizing vector graphics. The key findings regarding Nab-Kasaya composition include, first, the difference between the composition of Nab-Kasaya, including the difference between Jo and Yeob and Haljeol and Cheobsang. Secondly, Bunso-ui involves layering multiple sculptural fabric pieces. Thirdly, the Nab-Kasaya production process commences with the quilting stage, followed by the individual creation of each Jo. Subsequently, seven Jo are meticulously joined. Furthermore, a Cheob piece is positioned at the corner of the square, while Ran elements are carefully arranged along the perimeter. This compositional method was effectively illustrated using vector graphics to accurately capture the appearance of fabric and stitching details. Vector graphics were employed to visualize the composition method, thereby facilitating its comprehension. 인도에서 시작되어 한국으로 전래된 가사(袈裟)의 유형은 만의형(縵衣形)Man-ui type, 납의형(衲衣形)Nab-ui type, 할절의형(割截衣形)Haljeol-ui type 첩상의형(貼相衣刑) Cheobsang-ui type으로 구분된다. 그 중 납의형은 옷감 조각을 겹쳐 놓고 누벼서 만든 것으로 납가사를 말한다. 한국 문헌에 납가사로 지칭되는 명칭은‘납의(衲衣)Nab-ui ’, ‘마납(磨衲)Manab’, ‘납가사’등으로 삼국시대부터 조선시대까지 지속적으로 나타난다. 또한 고려시대 납가사 유형은 변상도(變相圖)phase-change diagram와 나한도(羅漢圖)Arhat Paintings에서도 확인된다. 하지만 한국의 유물 가사는 대부분 조선중기 이후에 조성된 것이기 때문에 납가사는 없으며 이런 실물 자료의 한계성으로 한국에서 납가사 구성에 관한 연구는 매우 미흡한 실정이다. 이에 본 연구는 납가사 구성법을 도출하기 위해 일본 정창원과 도쿄박물관에 소장된 납가사 유물을 대상으로 구성의 차이점을 분별하고, 벡터 그래픽을 적용하여 제작방법을 제안하고자 한다. 납가사 구성에 관한 연구 결과는 첫째, 납가사 구성의 차이점은 조(條)Jo와 엽(葉)Yeob 구분의 차이와 할절과 첩상으로 구분된다. 둘째, 분소의(糞掃衣)Bunso-ui는 여러 겹의 조각천을 겹쳐 놓고 누벼서 만들어진 형태이다. 셋째, 납가사의 제작과정은 전상을 누벼서 만드는 과정부터 진행되며 각각의 조를 먼저 만들고 조를 연결하여 7조를 형성한다. 그리고 가장자리에 란Ran을 두르며 사각의 모서리에 첩을 만든다. 이와 같은 구성법을 벡터 그래픽을 적용하여 이미지로 구현하여 직물과 바느질의 표현을 효과적으로 제시하였다. 이와 같이 구성법에 벡터 그래픽을 적용한 것은 구성의 이해를 돕고자 함이다.