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RISS 인기검색어
- 검색키워드
- 저자 : 李春桂 (검색결과 41 건)
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韓國都市男便의 衣服購買行動에 관한 硏究 : 서울市를 中心으로 The Case of Seoul
李春桂 한국의류학회 1980 한국의류학회지 Vol.4 No.1
This study attempts to discern the purchasing pattern of urban husbands' clothing in Korea. Studies on this subject in other cultures show that wives play lesser role in purchasing activities of their husbands' clothing in the industrial societies rather than in the pre-industrial ones. It would be interesting to know the way selecting and buying husbands' clothing in urban Korea. Specifically questions to be answered include: Who makes the decision in selecting in kinds of husbands' clothing and who buy them? Data for this study has been collected through structured questionaire survey for 606 married women in the City of Seoul including 192 mothers of elementary school students, 58 elementary school teachers, 210 mothers of middle and high school students, 56 mothers of undergraduate students, and 47 college professors. Since most women of our sample are relatively high in educational level and working for various educational institutions, the findings of this study should not be generalized as a general trend of urban Korea. Major findings of this study include: 1) Purchasing husbands' clothing is not entirely wives' domain. The degree of participation on the part of wives in selecting and buying of their husbands' clothing depends upon the kinds of clothings. If it is for such items as underwear, socks, handkerchief, or umbrella, which are relatively easy to choose in terms of size, outlook, and price, more wives do the job. Other- wise, however, husbands more actively participate in selecting and buying their own clothings such as shoes, overcoats, neck tie, and formal wear. 2) In terms of clothing behavior of husbands, it seems to be a general trend that husbands select their clothings, but wives buy them. 3) Variables related to socio-economic status seem to affect the clothing behavior of husbands. Those who more actively participate in selecting and buying their clothings include: husbands whose wives have a job outside thier family, younger in age, middle school or high school graduates rather than college graduate or husbands with far lesser education, and husbands who live in western style houses rether than in traditional Korean houses.
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李春桂 한국의류학회 1995 한국의류학회지 Vol.19 No.4
After I stated the characteristics of the ancient Buddha Banners of Shoso-in and Horyuji of Japan, I searched for the possible countries they could have been made in. I concluded that Japan imported above mentioned Buddha Banners from Korea from the fallowing reasons: 1. Almost no Banners in Heian Period. 2. Difference between Banner patterns of Nara period and them of Heian period. 3. Japan almost always imported Buddhist implements including Banners from Korea from 7th century. 4. Resemblances between kinds and forms of the patterns of Shoso-in and Horyuji Banners, and them of Silla period.
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李春桂 東國大學校 1993 東國論叢 Vol.32 No.-
As soon as Silla Korea unified Korea Peninsula 668. The unified Silla took a war reparation form Yamato-wa Japan under direct contral of Backjae Korea from early times, where almost all Bakjae Elite had migrated from Bakjae from 663 AD and gives a lead to Japan her politics and Buddhism. The finding of this article are as fallow : (1) The clothing law in Japan 706 AD which forbids clothing of Bakjae and Japan and makes Japanese officials Silla clothing wear is one of Japan controls by Silla Korea. (2) The Shoso-in clothes are almost ones at the time of the consecration of the Great Buddha, 752 AD. Japanese record(Nihonki) tells the Japan imported Silla clothing including Korean surplices and many other Buddhistic goods many times, so the full dresses and surplices of Emperor and Empress Shomu as well as the clothong of the dancers, the transscript men dresses of the Buddhist scriptures from Silla and the dresses the laboress in Shose-in must be ones from Silla or ones modeled after Silla clothing. (3) The patterns and the construction of the clothing such as Po(coats) and Ko(trousers) were introdused here in terms of the above-mentioned Logics.
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佛像을 通해 본 統一新羅時代 佛衣에 關한 硏究 : 着衣 및 衣褶을 中心으로 focused on the wearing method and clothes fold
李春桂,安明淑 東國大學校 1988 論文集 Vol.27 No.-
The purpose of this study is to investigate Unified Silla's distinctive style and process of change in Buddga's costumes as well as clothes and wearing method of Buddga's costumes. This study lays emphasis on Unified Silla's Age, which is comparatively definite in the periodical classification of Buddhist art and eminent in the style of a Buddhist image. While Buddhist art of Unified Silla handled in this study mainly had close relation to the art style of Tang(唐) in the ancient China, it received the foreign cultures from the western countries and India by direct or indirect contacts. Therefore, the international inclination of Buddhist art in Korea, China and Japan, from the end of the seventh century to the mid-eighth century, had been shown more remarkably than in any other times. Here I divide this period into three parts in order to observe on the Buddga's costumes of Unified Silla Age. The features of each period is that : 1> the first period The first period ranges from immediately after Silla's unification to the end of the seventh century. The features of Buddha's costumes in this period were little removed from those of the period of the three Kingdoms such as thick Kasa, thick folds of "U" shape, symmetrical folds in a costume. But we can also find the new style in which clothes have drooped fold of manifold semicircle in shape. So, the first period was characterized in the mixture of the traditional style and the foreign style in the appearance of clothes. 2> the second period The second period is during about one century of the eighth century. During this period Silla's way of art was influenced by that of Tang(唐) in china and come to maturity in the art of sculpture with deep faith, Finally Silla had enjoyed the golden age of the art of sculpture. The method of expression in Buddha's costumes also broke from the ancient conventional style and got realistic and refined features of Silla's art. We can also find that the front skirt of Kasa in dress bottom included the new style in which it was cut as a "V" shape besides the horizontally cut style as shown till now. 3> the third period It is the end of Unified Silla ranged from the ninth century to the beginning of the tenth century. In this period the art of Buddhist statue was about to decline gradually from the mid-eighth century, the acme of Buddhist art's prosperity. This degeneration also had great influence on the style of Buddha's costumes, so that the style became formal and schematized. Now, we can summarize the characteristics of the popular style of Buddha's costumes in the times of Unified Silla. First, the styles of Buddhist statue's clothes were more in dress method of put on right and left shoulder than in dress method of put on left shoulder. Second, the style of King Asoka's statues and King Udyana's statues in the folds of clothes were so popular that they became the main current during the eighth century. However, from the beginning of the ninth century, the appearances of folds were formal and schematized with compact and parallel folds which are formally expressed. It is true that the scientists who study dress and its ornaments have left Buddha's costumes out of account due to the peculiarity of Buddha's costumes, whereas there have been more studies on Buddha's costumes on the historical point of art. I hope that with this study as a momentum, new studies on Buddha's costumes will be continued on the historical point of dress and its ornaments as well as that of art.
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