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江戶時代 浮世繪에 표현된 女性服 小袖의 특성에 관한 고찰
박옥련(Park Ok-Lyun),이행화(Yi Hang-Hwa) 경성대학교 인문과학연구소 2009 인문학논총 Vol.14 No.2
본 논문은 에도시대의 대표적인 문화였던 우키요에에 표현된 고소데의 변천과정을 실루엣을 통한 조형성을 알아보기 위하여 그 시대의 우키요에라는 미술양식을 통해 고소데의 변천과정을 고찰하고, 고소데의 실루엣 특성을 통해 이것을 현대적으로 재해석해 이국적인 디자인 개발에 응용할 수 있는 자료로 활용할 수 있도록 하는데 그 목적을 두고 있다. 실루엣 특성을 고찰한 결과, 윤곽선은 신체를 따라 흐르는 듯한 느낌의 유연한 S형의 유선적인 라인이 많이 보였고, 부피감을 강조하기 위한 착장상의 실루엣 특성은 겹쳐 입어 나타나는 두께감을 강조한 실루엣과 착장방식에 따른 실루엣의 형태로 나타났다. 또한 세부장식인 오비의 착장에 의한 실루엣 특성을 고찰한 결과, 오비를 통한 분할선의 활용은 의복을 통해서 인체의 약점을 보완하기 위해 사용하였다. 여자의복에서 나타나는 비례는 상체와 오비의 길이가 같은 비율로 나타나며 하체부분이 상체와 오비를 합한 길이와 같거나 더 길게 나타난 경우가 많았다. 이는 왜소하고 작은 체구가 직선적인 의복에 의해 더 작아 보일 수 있기 때문에 이를 보완하기 위한 방법으로 오비를 활용하여 하체를 길어 보이게 하였다고 본다. The main objectives of this thesis are twofold. Firstly, it aims to explore the historical process of the ways in which Kosode(小袖) was presented in Ukiyoe(浮世繪), the main stream cultural trend in the Edo(江戶) era, has changed, by closely looking into the formality of silhouettes. Secondly, it intends to examine a series of similarities and differences emerging between Kosode and Ukiyoe by taking into account their figurative aspects found in empirical data relating to the Edo era. The outcomes having been obtained as a result of the aforementioned research are as follows. The frequently-employed type of the silhouette mainly constituted S-shaped elastic forms and, in particular, Obi was utilized to make up for physical disadvantages people having small frames had, by using a line dividing a whole body into the upper, Obi and lower part, centering upon its position. Given the fact that practicality and functionality were two key elements to the lives of working-class people, they would wear Yumaki(湯卷) under Obi with short dress length by making use of such a dividing line to let waste-lines downwards so that their bodily shapes could eventually seem to be even longer. In conclusion, this research elucidated the features of Kosode silhouettes presented in Ukiyoe in the Edo era.
에도시대 우키요에(浮世繪)에 나타난 유녀(遊女)의 머리형태에 관한 고찰
박옥련(Ok-Lyun Park) 한국인체미용예술학회 2011 한국인체미용예술학회지 Vol.12 No.4
Prostitutes could lead the trends because they had less social restraints in making new attempts than other public or women in the aristocracy. Ukiyo-e(Japanese woodblock prints) drawing the prostitutes realistically described clothing, makeup or head shapes so that it played the roles like the current fashion magazines for the public at that time. Accordingly, new hair shapes in accordance with the lapse of time were identified by analyzing the hair shapes in Ukiyo-e. Hair shapes might be changed because of different social atmosphere depending on the time. The public had the economic richness by the development of monetary economy in the mid-Edo period. Then, the hair styles became complicated and decorative as compared to the early days of Edo period. The hair styles showed the attempt to escape from the skillful and showy styles in the mid-Edo period in the late Edo period. Thus, the hair style returned to the natural style. In terms of the types, three hair styles, Hyogo-mage, Shimada-mage and Katsuyama-mage, were found. Even the same style was slightly different depending on the social atmosphere by period. In particular, the exaggerated hair style using Torobin which was frequently used for hair styles of courtesans since mid-Edo period emphasized the feminine beauty in Edo period. Such trend was also observed in Torobin Katsuyama-mage, a type of Katsuyama, and Torobin Yoko-hyogo, a type of Hyogo.