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- 저자 : 채금석 (검색결과 135 건)
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채금석 숙명여자대학교 건강·생활과학연구소 2004 生活科學硏究誌 Vol.- No.21
Jeogori which is one of the basic elements of Korean Traditional Costume is composed of gil(bodice), somae(sleeve), got(collar), goreum(ribbon) and so on. Also it shoes variety of colors and sewing methods therefore possible to reconsider its diversified design. Therefore the purpose of this study is to prove the ability of transforming the traditional Jeogori into various designs and develop it. The range of this study is from ancient times to Goryeo dynasty by Gogureo mural paintings, clay figures and buddhist paintings. Therefore the conclusion of this study is as the followings. First, jeogori was developed from ancient times caftan style which Korea, China and Japan wore all together. Second, I think for the appropriate word of a collar which is one of the structure of jeogori should be called ryeongeum instead of git. Third, as the length of has become shorter than before, there came out the ribbon instead of a belt in Goryeo dynasty. Forth, while researching Goguryeo murals there were both left and right sided open jeogori and as time goes by it settled up to the right side. Through this study I expect that Korean traditional jeogori will show the excellency of Korean culture to the global world and become a motif of the field of fashion designs.
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채금석 한국복식학회 1994 服飾 Vol.23 No.-
This research has been made through analyzing clothes of human dresses and ornaments appeared in the Buddhist pictures which were drawn at the times of the koryo Dynasty. Clothes of the Korea Dynasty could be analyzed as below : First, as for Turban(Doogun), common people used Ogun, Doogun, Byunsangmo and Chaek. For clothes, the style of the era of the ear of the Three-Dynasty. That is, they wore long shirts with narrow sleeves and narrow trousers and skirts. However, around the years of 1320, shirts had no more belt but became to show a kind of ribbon which is called as Gorum, and length of shirts was a bit shortened between hip and waist lines. Second, as for officials clothes, a kind of Ryangkwan was used through the Dynasty but after the years of 1300, Wonryukwan was also used. In the clothes, Bangshimkokryung was used and the Royals wore full-dress attire which looks like a long gown. Under the full-dress, we can see two different which seems to be a kind of present under-wear. Third, in public clothes, same type of Danryung. Holl, belt and shoes were used throughout the Korea Dynasty. In addition, Line(Yeon) was rearkably used skirt was dressed under Dynaryung by middle of the Dynasty, but at the end of the Dynasty the skirt was replaced with trousers. For Bokdoo, Jeonkak Bokdoo was mostly used at the begining of the Dynasty, but in the end of the Dynasty a lower-flap Bokdoo was in the main current. Meanwhile, we can see that the Korean Dynasty had its own in dependence in the clothes although the Dynasty was affected by the Chines Song Dynasty system. We can hardly find a Mongorian clothes style in the Korean Dynasty clothes. Fourth, in Queen`s clothes, Banbi and Pyo were used and sleeves were decorated with birds feather throughout the Dynasty. Lastly, farmer`s clothes are quite similar to those of the Chinese Song and Won Dynasties and a decorative line was used in official clothes. These facts make us have a presumption of our Dongii culture might be conveyed to the Chines in the ancient times but much more research is needed to clarify.
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채금석 한국의류학회 1998 한국의류학회지 Vol.22 No.1
This study found through that Fortuny's art world with design aesthetics was devided into historicism, purism, exoticism and mysticism of color. ① Fortuny's aesthetic observation dazzled at that time and he apply well-grounded opinion in historicism of his all creation and then accomplish on the whole mysticism of art and technique dwelled creativity. ② Fortuny's Delphos gown realized new creation of beauty intact by that the simplicity and contingency was inquired into the art at that time. He revived that aesthetic was included in the drapery of ancient Greece, so indirectly express outline of the human body and realized pure image used a natural curved line of the human body. ③ Fortuny's creations included a exotic special quality. His clothes expected so many characteristics of 20C fashion and exotic, visionary fashion revolution in addition influenced on stage costume. ④ Fortuny created new color specially "Tempera" and expressed mysticism of color that found a harmonious color character and texture through the ancient techniques included experimental mind of a multilateral try.
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채금석 숙명여자대학교 대학원원우회 1991 원우논총 Vol.9 No.-
Clothing is not a simple object to be dressed on the human body but is an object to be dressed as an existence of history, community and mantality in the life of human being. A certain time of clothing exists in very intimate relation to all kinds of art coexists at the time and it is also in collusion with common worth, ideology, emotion and aesthetic sense. The desiription mode of modern formative arts is explained to be classified into two categories, abstract trends to pursue conceptional sense and pure optical art trends like Op-Art. An activity has been continued to establish new kinds of formative arts in whole 20th centry, and it is observed that modern arts and modern clothing have obvious closer connection each other and there is an analogy in the aspect of form inbetween. Especially, it is assured though external analogy of arts and clothing mode that trend of arts has had obvious effect on clothing. It is also observed that a lot of designers was inspired form artistic works and applied it to clothing and thus fashion mode develops as artistic trend does. From above-mentioned point of view, this research has the purpose to study characteristics of Op-Art which was a specific mode in the years of 1960 and to clarify the meaning that clothing is not merely an apparel but should be an artistic work. As we can see Op-Art has so far been applicated to a pattern of clothing, characteristics of Op-Art work makes us to experience fantastical space of optical perception in the abstract and geometrical plane constitution. Op-Art must produce new and fresh impact in the optical and geometrical space formation and color contrast. However, Op-Art does not merely affect figures of clothing for illusion. When we analyze geometrical space formation, type of form and harmony of complementary color contrast and simultaneous color contrast of Op-Art, it is thought that new change of clothing in the years of 1960, geometrical simplified silhouette and loud color, is also interpreted on same basis of artistic concept of Op-Art.
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