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RISS 인기검색어
- 검색키워드
- 저자 : 채금석 ( Keum Seok Chae ) (검색결과 60 건)
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채금석 ( Keum Seok Chae ) 한국의류학회 2014 한국의류학회지 Vol.38 No.1
This study analyzes the styles of Baekje costumes by examining costume types and styles based on there search of old books and a comparative study of archaeological and historical Baekje art relics in Central Asia. The results of the study are as follows. 1. Through the comparative study of the records of old books, relic materials (Yangjikgongdo, Mural paintings of Takamatsuzuka Tumulus, Cheonsuguk Mandarasujang, Shosoin relics, and Haniwas), we can see that ancient Japanese costumes were influenced by the culture of Baekje costumes. 2. A comparative study of the records of relic materials of Baekje and Central Asia show that there were vigorous interchanges between the East and West. 3. Baekje costumes showed a great diversityin styles because they were based on Buyeo costumes developed in conjunction with vigorous overseas trade. 4. Baekje`s upper garments are summarized as Boksam and Po for men and Yu, Banbi and Euisapo for women. Boksam and Yu styles varied as tunics and overlapped jackets with straight and round collars. Two types of sleeves coexisted. The sleeves of Hansung Baekje period were a diagonal lined style that was wide on the armhole and narrow on the wrist. The sleeves of Sabi Baekje period were a reversed diagonallined style that is narrow on the armhole and wide on the wrist. Pants styles were summarized as Gon, Gunggo and Daegugo. There were not enough relics and references for the Baekje costumes; however, this study widens the possibility of the existence of various styles of Baekje costumes through inferences from available data.
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채금석(Chae Keum-Seok) 한복문화학회 2001 韓服文化 Vol.4 No.3
This study aims to survey the Korean ancient Traditional Costumes on Kokuryo Murals in the Gakjoe- Tomb and the Susanri- Tomb. The results were as follows : 1) A Nobleman Mainly wearing a hip-length jacket that fixes a main line and assistant line, or a long-length po which has long wide sleeves. generally adjusted to the left side Trousers are wide in width and printed in dots irregularly. 2) A noble woman principally wearing a hip-length jacket of straight neckline which is bound on left side that fixed a main line and assistant line and natural pleats skirt forms A-line silhouette. 3) The Common people are wearing hip-length jacket, of a short narrow sleeve and narrow trousers, especially women are wearing skirts showing similar silhouette to of a noble woman but it hasn't main line. 4) The main color for costume was reds and yellows. Natural white color was seen so often and many-colored stripes are applied for skirts 5) In case of Nobleman, silk was used as a material but common man's clothes was made of wild linen. 6) As for print, stripe, dot and geometrical pattern were used.
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세계 여성 정치 지도자 의복행동 연구 -홉스테드 문화이론을 중심으로-
채금석 ( Keum Seok Chae ),김주희 ( Ju Hee Kim ) 한국의류학회 2017 한국의류학회지 Vol.41 No.3
This study uses a macro-viewpoint to investigate how female world leaders` clothing behaviors are differ-ent by nation and culture. This study conducted a comparative study on clothing behavior by cultural block in order to understand similarities and differences based on Hofstede`s cultural dimensions theory. The findings are as follows. First, the clothing styles of female world leaders are categorized into classical suit style, national traditional style, and eclectic style. Second, classic suit style is more often found in countries characterized by high individualism, low power distance index, and low avoidance index. The style represents individual activity and rationality as well as trust towards women acting in men`s roles. Third, a national traditional style is found in countries featuring high collectivism, high power distance index, and high uncertainty avoidance index. These countries share a culture that emphasizes harmony with the whole, rather than any one given part; consequently, clothing style represents a national identity (or the roles as a national member) rather than that of the individual level. Fourth, an eclectic clothing style is expressed in a mixture of classical suits and a national traditional style that depends on how much Eastern and Western cultures are reasonably compromised or Eastern tradition and Western culture coexist.
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채금석(Keum Seok Chae) 한국복식학회 1999 服飾 Vol.46 No.-
The purpose of this research is to get basic data for R&D to activate and popularize the Practical Korean Costume. This research was carried out by theoretical study with literature and practical study with development of model based on the result of questionnaire. 1. In theoretical study, the concept of `Korean-image` of modern costume as well as `Modernization` of Korean traditional costume has been suggested and `traditional beauty of costume`, which can be evaluated generally, was considered. 2. In practical study, the results of the questionnaire showed the objective numerical value of the element of Korean design which is firmly recognized by Korean people. With the results, the methods of development and composition of design have been suggested, in the harmony of `traditional` and modern`, through the modernization in terms of form, compositor, fabric, color. It is expected that development direction of Practical Korean Costume which can be settled in everyday life with more independent cultural identity should be suggested. Additionally, the research results will be useful for merchandise planning of costume industry.
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채금석(Keum Seok Chae),양숙희(Sook Hi Yang) 한국복식학회 1995 服飾 Vol.24 No.-
The Expressionism took shape in the early twentieth century, so called as the time of change and innovation which intermediated between the time of extreme prosperity and peace and the time of disruption. This study is based on the wide sense of Expressionism out of various concepts of Expressionism. The afore-mentioned phenomenon was emphasized all the more in the French Expressionism and it is the most important and substantial object in the Art to make a direct transference of emotion, feeling and thought and it could be regarded as one of characteristics of the French Expressionism. In Addition, the Expressionism produced Aesthetics on Ugliness(Asthegik des H lichen) in creating work of art. It was an expression of the Existentialism based on Humanism for modern people who lived at time of nihility and such artistic movement accepted polarity and ambivalance concepts claimed by Nietazsche into three specific fields in accordance with thought and technique in the work of art and those are the Intuitional Expressionism, Cubistic Expressionism and Fantastic Expressionism. This study makes a close analysis of costume style trends on the basis of the categorized Expressionism enumerated as above. The caracteristics of Intuitional Expressionism is that poverty and a sense of alienation dominated all society and thus the social reality brought a trend of social participation. This social reality effected significantly modern costume style and a reformative costume turned up at last. This reformative costume was classified into Gar onne look, Military look and Lingerie look by characteristics of style in order to make a close examination for the relationship between social reality and the reformative structure. Cubistic Expressionism effected costume forming and changed costume style throughDeformation and Distortion in forming technique, and also it has developed geometrical style of costume, which could be symbolized by emchanism. And on the othe hand, this Cubistic Expression has emphasized exaggerated expression ability to produce rigid and stiff style of costume. Fantastic Expressionism pursued basic artistic worth from the primitive and ethnic customs and accepted fantastic oriental Exoticism. This Fantastic Expressionism effected costume style of twentieth century and such designers as Lon Bakst, Paul Poiret, Elsa Schiaparelli adopted intensive primary color. It also applied Depaysment to modern costume style, which introduced avant-garde design to give an impact through destruction of the existing traditional concepts. This study also analized seven major representative costume disigners of the early twentieth century. They are L on Bakst, Paul Poiret, Madeline Vionnet, Jean Patou, Gabriel Chanel and Elsa Schiaparelli. These designers deployed creative costume design work with peculiar expression technique based on the French Expressionism. The costume study related to art history was so far made mostly to approach costume forming but only a few study is found to have approached idealistic background of art history in connection with creating costume. From that point of view, it is profoundly significant for this sutdy to analize idealistic background and characteristics of Expressionism and relationship between costume and Expressionism and to examine modern costume of twentieth century in conjunction with technical characteristics and spiritual sense of Expressionism.
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채금석(Chae Keum-Seok),고희경(Koh Hee-Kyung) 한복문화학회 2003 韓服文化 Vol.6 No.2
The purpose of this study is to analyze key factors which has contributed to the formation of the China costume culture<br/> and to examine the spiritual culture inherent in outward elements of China costume.<br/> Costume is a visible element of spiritual culture; therefore, outward characteristics of Chain costume have lots of implications related to the China spiritual culture, which can be dassified into the view of Confucianism, Taoism and Buddhism<br/> First, Confudanism important the place, state, etiquette. So clothing of Tang age is big, clear and refined. Second, Taoism pursue freedom of state of flow and lovely. So clothing have lot of drape, rhythm, slash. Third, Buddhism influenced art of Kobtacho's age, that clothing is soft, sex and colorful.<br/>
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