http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : Jin Sook Cho(조진숙) (검색결과 18 건)
- 무료
- 기관 내 무료
- 유료
-
조진숙(Cho, Jin-Sook),추원교(Choo,Won-Gyo) 한국조형디자인학회 2004 조형디자인연구 Vol.7 No.2
In the ancient society, the belt was an important ornament. The shape and material of the belt was a measurement of the social position or status of its wearer. Few remains of the belt in Goguro were excavated in its entirety and, in most cases, only belt hooks or buckles, belt accessories, belt- tip ornaments were partially excavated. Because Goguryo's old tombs had the structure of having stone chamber with tunnel entrance and robbing the grave was easy, serious damages were done to the remains. Buckles were used with the advent of the leather belt. And on the buckle, not only the simple and practical demand for use but also the spiritual world of people in those times were expressed in various forms . Many belt accessones were carved with the dragon- shaped pattern and the heart- shaped leaf pattern linked to the rectangular plate where three- leaf patterns are carved from both sides. It seems that belt accessories with carvings of the dragon shape were affected by the West jin Dynasty of China, and in Goguryo, the shape was gradually changed and fixed into the form in which the three- leaf pattern were linked to the heart- shaped leaf pattern, and this form spread to Baekje, Shilla, Gaya, and Japan. The early form of the heart- shaped leaf pattern was closer to gingko- leaf but it gradually changed to the heart- shaped leaf pattern with convex upper part. Belt-tip ornaments were mostly made of gold-plated copper and in some cases they were made of silver- plated iron or made of copper without gilding. The manufacturing techniques of personal ornaments developed as the use of bronze and iron implements increased sharply with the introduction of the Scythe-Siberian culture. Their main form was to symmetrically arrange two perforated grass - and cloud-shaped patterns to face each other or to make their back face each other. Detailed form was expressed largely in the cloud-shaped pattern by using chasing techniques. Pattern s were used as signs of symbolic authority. Baekje and Shilla, which had similar cultural background, had difference in the form but used almost identical patterns . As can be seen in cloud patterns, honeysuckle patterns, and grass-shaped patterns, this style developed in Goguryo spread to neighboring countries.
-
가야(伽倻) 장신구(裝身具)의 조형적(造形的) 특성(特性)
조진숙(Jin Sook Cho) 한국디자인문화학회 2010 한국디자인문화학회지 Vol.16 No.3
본 연구는 가야의 신화와 사상이 관모와 허리띠, 귀고리, 목걸이, 팔찌 등 가야의 장신구에 어떠한 상징적 의미와 조형적 특성으로 표출되는지 알아보고자 하였다. 연구방법은 가야의 신화와 사상을 문헌을 통해 찾고, 아울러 출토유물의 문양과 형태를 비교분석 하여 그 연계성을 도출하고자 하였다. 연구의 시대적 범위는 변한에서 562년 대가야의 멸망까지로 하였다. 가야의 관모는 꼭대기가 연꽃모양(蓮花形)인 풀잎모양(草花形)의 세움장식을 특징으로 하며, 신라의 출자형 금관과는 다른 나뭇가지형 금동관이 출토되기도 하였다. 가야의 귀고리는 사슬형 연결금구와 소환연접구체의 속이 비어 있는 둥근 샛장식이 존재하며 드림은 심엽형과 원추형, 산치자 열매형으로 대별된다. 초기에는 백제의 영향을 받아 제작되다가 차츰 가야적인 귀고리로 변화하였고 특히 일본의 귀고리에 직접적인 영향을 끼쳤다. 가야에서는 수정이나 마노(瑪瑙)를 주판알 모양으로 깍거나 유리로 곡옥(曲玉)이나 둥근옥(球玉)을 만들어 목걸이로 착용했다. 구슬의 재질도 금, 은, 유리, 금박입힌 유리, 수정, 호박, 비취 등으로 다양하고 형태도 판옥, 곡옥, 대롱옥, 다면옥 등으로 다채롭다. 팔찌는 가야 이전의 신석기 시대의 조개 팔찌나 변한시대의 청동 소재부터 구슬과 금, 은 동제를 비롯해 소재가 다양한데 삼국과는 다르게 각종 구슬을 사용하여 제작한 것이 특징이다. 팔찌는 초기 문양이 없는 간단한 원형에서, 새김눈의 형태로 발전하는데 이는 삼국의 팔찌에서도 각각 보여 지고 있다. 특히 가야의 장신구는 지역적으로 백제의 영향을 많이 받아 신라와는 다른 장신구의 특징이 나타나며 이는 널리 일본의 장신구에도 많은 영향을 주었다. This study aimed to find out the formative characteristics of the ornaments of Gaya, an ancient tribe of Korea, as expressed in its mythologies and historical background. Through literature and relics, the study examined how the stylistic features and symbolic meanings of patterns were manifest in Gaya`s metal ornaments on hats for official uniforms, waist belts, earrings, necklaces, and bracelets. Gaya people cut crystal or agate in the shape of abacus beads or glass into comma-shaped jade or globular jade to wear them as necklaces. The beads used for the ornaments were diverse in material and form with gold, silver, glass, gilt glass, crystal, amber, and jade in the battered thin shape, comma shape, cylinder shape, and multi-sided shape. Gaya`s official hats feature flowering grass-shaped unique upright ornaments with their top in lotus flower shape. Gilt-bronze crowns with branch-shaped patterns, which were different from Silla kingdom`s golden crowns with oppositely branched ornaments, have been excavated from the former Gaya area. Gaya`s earrings have chain-shaped links and round middle ornaments with small loops connected together in a globular shape and their inside hollow. Their pendants have largely heart-shaped leaf patterns, cone-shaped patterns, and gardenia fruit shaped patterns. Early earrings were produced under the influence of the Baekje kingdom and gradually changed to achieve their own styles and directly influenced Japan`s earrings in particular. Gaya`s bracelets are also many and varied in material, including shells used since the Neolithic Age before the Gaya period and beads, gold, silver, and bronze used since the period of the Byeonhan state. Their productions had characteristics of using various kinds of beads, unlike those of the Three Kingdoms period of Korea. Gaya`s bracelets developed from the simple patternless original form to notched form, both of which are also found in the bracelets of the Three Kingdoms. Greatly influenced by the Baekje region, Gaya`s ornaments are found to have characteristics different from those of Silla as well as extensive influence on Japan`s ornaments.
-
趙珍淑(CHO Jin-sook),金榮玉(토론자) 고구려발해학회 2004 고구려발해연구 Vol.17 No.-
The characteristics of a country's historic sites and relics are important cultural manifestations which reflect its people's way of thinking The history of accessories of any nation reveals that nation's wisdom, sentiments and aesthetic sense as expressed in the ornaments. The Goguryeo tomb murals, which are the origin and source of Korean accessories, have elements that reveal the form and traits of accessories in Goguryeo, one of the ancient Three Kingdoms of Korea. This study (on the accessories of Koguryo as seen in tomb murals) examines the unique form and traits of metal art works in Koguryo, including gold crowns and gilt bronze crowns among official hats, belts, shoes and earrings. It also inquires into patterns on the murals, their application on relics from the Three Kingdoms, and the techniques used to decorate the metal surface of accessories. The purpose of this study is to find out the characteristics of Koguryo metal art works and to show how the circumstances of the time and the culture of Koguryo interacted with and affected its surrounding countries. Koguryo people had boundless imagination and broad-mindedness which stemmed from their powerful national strength and confidence. They had also cultural diversity and ability to embrace other cultures which derived from their unreserved contact with foreign powers. Although influenced by the northern peoples and Han people of China, Koguryo accessories had unique traits that reflected the Korean people's sense of form. The Koguryo culture also passed on to Japan via the neighboring kingdoms of Baekje and Silla. As can be seen on the ancient tomb murals, the Koguryo people created artistically magnificent and valuable works. But their tombs, constructed with a horizontal entrance way leading inward from the surface of me burial mound and stone burial chamber, were relatively easy to pilfer. For this reason, regretably, few burial objects remain, which makes it difficult to grasp me whole picture. The legacy of the Koguryo people's customs and way of thinking has been passed down through the long history of Korea and survives today in me Korean people's sense of legitimacy and national pride.
-
-
조진숙(Cho, Jin-Sook) 한국조형디자인학회 2002 조형디자인연구 Vol.5 No.2
The culture of a country has a traditional trait and repeats harmony, hoarding, and re-creation through interchanging a culture of another countries. Modern culture shows currently plurali stic trend; not absolutely truth and beauty, but coming back diversity and variability. therefore, wall paintings in antient tomb of Koguryo was taken remarkably by keeping up with thi s trend, and it has been studying a lot inside and outside world. Koguryo grown the north area of Korean penisula and Marilu gained supremacy over northeast Asia through overcoming consiste nt conflict and war. People of Koguryo took the culture of outside world without hesitat ing by a go ahead spi rit and confidence; as result, they had a rich in original culture through re-creat ion. Kogurean with the martial spirit believed a descendant of God and immotality, and they're big interested in a world after death ; as these reasons, they left ,one of the brilliant culture, wall paintings. Contents and type of wall paintings in Koguryo are tran sfigured by the change of a sense of values and consciousness from flowing in Buddhism and Taoi sm. The fir st ch aracteri stic of Koguryo wall paintings in antient tomb and remains sho ws magnifi cen se, ambition, liveliness , a nd robu stness ; in addition, they shows rough , but un sophi stic ated and strong beauty of line. Second, the characteristic of motifs appear a lotu s pattern included a lotu s flower motifs and Ind ia- style flower motifs, and Koguryo traditional whirlpool flaming motifs. Third, the techinique of metal cra ft sh ows the c haracter istic of Koguryo a hole made technique, hitting technique, and plating technique. As a result of thi s study, Koguryo recreated traditional his culture from flowing in the culture of out side world , and big influen ced on near countries like Balhae and nowadays. The remain s of Koguryo are rarel y opportunity to meet for us but it ha s to be profound studied, uphold the great things today, and appl y on every the fine arts.
-
-
조진숙(Cho, Jin-Sook),추원교(Choo, Won-Gyo) 한국조형디자인학회 2004 조형디자인연구 Vol.7 No.2
The ancient kingdom of Goguryeo reigned over an extensive territory backed by its strong economic and military prowess. This is manifested by the multiplicity of horsemen portrayed in the tomb murals dated to the era. Goguryeo's horse trappings have aspects that reveal the form and trait s of the metal artifacts in general of the time, and constitute the origin and essence of Korean horse trappings. Goguryeo' s saddle bridges, harness fittings and horse strap pendants show the kind of designs and manufacturing techniques that are commonly found in the kingdom's metal accessories, and seem to have influenced the manufacturing of horse trappings in neighboring kingdoms such as Baekje, Silla and Gaya. This study relies on the analysis of Goguryeo horse trappings including those depicted in tomb murals in order to identify the characteristics and style of Goguryeo's metal artifacts. The Goguryeo style was well- preserved by neighboring countries until the 4th century, but over time it became localized and gained distinctive regional characteristics. The end pieces of horse bits still retained the authentic heart- shaped leaf designs and elliptical patterns in such regions. Other features of Goguryeo style also remained intact -- the frames of saddle bridges were carved out of wood and then assembled later the front and rear covers of saddle bridges were lined with metal straps the harness fittings had a central pole with spangle ornaments on top of a semi- spherical base; and the heart- shaped leaf designs were used for horse strap pendants. Deviating from typical the horse strap pendants of Goguryeo, however, those in southern parts of the peninsula became wider and shorter in shape. In the ancient territory of Silla, Baekje and Gaya, pendants resembling a fish tail or a dagger tip have been excavated. Such modified forms have not been found among Goguryeo relics but are certainly depicted in Goguryeo tomb murals. The horse chest strap pendants found in Taewangneung tomb have three layers of copper sheets - - the plain base and two openwork upper layers featuring the toenails of a tiger and long feathers fluttering in the wind, which exhibit the power and vitality of the Goguryeo people. The excellent gilding skills, metal workmanship and aesthetic sophistication manifested in the pendants clearly illustr ate that the people of Goguryeo attained a culture that embodies the essence of the Korean culture.
-
-
-
ScienceON연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
