신라복식과 위구르복식의 관계 연구

한윤숙(Youn Sook Han) 한국복식학회 1995 服飾 Vol.24 No.-

This thesis focuses on the study of costume and ornaments of Shilla which had been severely affected by Uighur, and those of Uigher in Uigher self-governing district located in Shin Kang, East Turkestan, in Central Asia. This study aimes to idnetify the way of integration of Uighur`s costume and ornaments into Shilla, and orgins of Shilla`s costume and ornaments which had a mix of interantional elements through cross exchanges, by comparing the differences between the two, and at the same time to clarify the pedigree of Korean costume and ornaments which are said to be under a severe Chinese influence, by highlighting its uniqueness and originality. The result of the study demonstrates and originality of Shilla by melting foreign cultures into its own style in the process of accepting them. This means that the Shilla has recreated them in the form of simplification, and added naturalistic abstractness which is an element of Northern culture. The costume and ornaments are divided into coronets men`s costuem, women`s costume, and accessories. 1. Coroncts A horse-riding man, and the costume type of 유고제 窄袖肢體刑 tell the Northern culture`s influence on 백구수피기마인물채화첨입 and patterns of a lotus flower and arabesque show the 백구수피기마인물채화첨입 has an influence of Buddhism with culturce of bordering countires of Western China. the origin of 白構樹皮製弁形帽(圖頂形, 方頂形) lies in Northern cultures which can be found in ancient tombs of the Huns in Noin-Ula, and stone caves of Kizil in Kochang. The wall paintings in Alexandropol, Murutuk and 燉煌 No.409 cave show that 草花刑立篩系金冠 is under the influence of Northern culture, and Bezekrick No.25 cave and 繪幡 in Kocho also show that 樹林鹿角刑立篩冠 is under the influence of Northern culture, with its origin in Novocherkaask. In this regard, the transformed coroncts of Shilla has shows a blended culture of Shilla with Northern, Chinese, and Western cultures. 2. Men`s Costume 盤領袍 derives from cultures of bordering countries of Western China centering around Uighur and Turkey. 蓮珠文 in Uighur prince`s costume and in Uighur paintings of Central Asia were reflected into the arts of Shilla in a direct way, and the motive of Uighur was deviatedly expressed at Shilla`s arts in the form of simplicity, and naturalistic abstract paintings as is shown at 立樹變鳥文 in tiles and brick. Along with this, 窄袖肢體刑 costume originates from Eurasia`s Northern horseriding costumes as was shown in a golden man in B.C. 4-5C which is now possessd by Kazakstan Republic Academy Archelogy Center Museum, and a golden figure from Skitai ancient caves, and the origin is carried away into wall paintings of Kizil No.14 cave in 8c and Astana`s early period ancient tomb No.6. 3. Women`s Costume The hair styles of Shilla people are either 辨髮 or up-style with a lot of hair around it whose origin can be seen in Astana No.216 and No.187 caves of Kochang and Uighur`s wall paintings of royal princess`s hair style. Astana`s middle period No.206 and no.230 tombs reveal the its origin of 窄袖長裙 while Astana early period No.6 tomb shows that of 廈袖體滿刑 4. Accessories The earrings with small golden beads is seen at earrings of figure holding a sword in wall paintings of Kizil in about 5c, and those of a offering people in Sorchuk wall paintings. The earrings with small golden beads originates from a golden pendant of Shivargan, Afganistan, and golden pendants and other golden and metal accessories from Chrioba ancient tombs in Skitai Critia peninsula. Shilla`s costume derives from the costume style of horse-ridding man, which proves the fact that Shilla people are horse-ridding people with excellent horse-ridding techniques, and traditions. The people of Shilla are from horse-ridding people of local mounted momads in Northern part of Siberia steppe and this origin of Northern culture had been carried into Uighur in East Turkestan. At the same time, Shilla had a wealth and power since it was rich in gold and iron, thus producing lots of materials made of them.

현대패션에 표현된 하이브리드 경향 연구

임영자(Young Ja Lim),한윤숙(Youn Sook Han) 한국복식학회 2001 服飾 Vol.51 No.5

This study was carried out with an objective to prepare the framework of conformity for the 21st century modern fashion, which is interactive with mankind, based on a position that the 21st century contemporary fashion with its amalgamating trend of diversified artistic forms may not be elucidated on a standpoint centering on one certain modality. The hybrid fashion trend of historical modality which provides freedom and satisfaction in creation of an individuals expressive power in expressing true desire of mans inside through man-centered thought of the times has made multifarious motives of the past and present fragmentary. It thus extracts inner divisions and the concept of consolidation through three-dimensional form. Modern fashion is newly interpreted by the material and details of high technologies, and is harmonized by mix and match with various expressions. By having it, it is being expressed together with many types of dresses and ornaments. Modern fashion is being expressed together with many types of dresses and ornaments by new interpretations with the material and details of high technologies and by being harmonized with mix and match with various expressions, The hybrid fashion design trend of regional elements formed by stimuli and contacts of diverse local culture by globalization of network that was achieved by scientific technologies of the contemporary information society has disintegrated varied boundaries in the conventional culture by the latest communication technology-new media on the basis of newly created culture. The fact that regional elements could be expressed as if they were interrelated without each being deprived of originality may be explained with an interpretation on pluralism. The hybrid fashion design trend of cultural aspect, which manifests in the background of scientific technological culture as it transcends the societal-cultural boundaries based on the de-centralization theory of Frederic Jameson, has supplemented the imperfect meanings through conversional correlation with other forms and internal program changes. The middle stratal and polyhedral characteristics are seen as each cultural element is dismantled and reassembled by application of `multiple-time point expression`. Design forming method is not to bring destruction from outside, but to embrace instability and chaos through radical dismantling of the inside, and to pursue diversity and openness. Thus, it is implemented by an approach that takes the role of design process. In communication of discontinuity, continuity was dismantled through forms of mixing, overlap, perversion, insertion and coincidence.

멤피스(Memphis) 디자인이 현대 패션에 미친 조형적 특징에 관한 연구

임영자(Young Ja Lim),한윤숙(Youn Sook Han) 한국복식학회 2001 服飾 Vol.51 No.1

The purpose of this study suggest the fashion of communication for 21th century fashion. Especially, Memphis fashion have the possibility of communicating through objects. The results of this study are as follows: First, Memphis idea is to make design into a sophisticated, conscious instrument of communication. As the Memphis fashion points out: design is an extraordinary tool for communicating because its intrinsic characteristic is the fact that it is used and distributed anyway, even without communicating anything. The Memphis fashion is trying to connect design and industry to the broader culture within which fashion moves. Second, Using different materials provides not only new structural possibilities, but - above all - new semantic and metaphoric possibilities, order modes of communication, another language, and even a change of direction, broadening of perspective, appropriation and digestion of new values and the concomitant rejection of traditional structures that renewal always involves. The memphis fashion works on the fabric of contemporaneity(lurex yarn, latex, chrome metal and steel), and contemporaneity means computers, electronics, a new awareness of the body, mass exercise and tourism. Third, color in Memphis has never been an ideological vehicle. As with decoration it is born with the design, forming an integral part of the structure. It alters the objects molecules. It works as a mass, as an intrinsic feature of a certain form and volume. The Memphis fashion was realized the introduction of ultramodern science into such experimental and creative implementation as optical motive, brilliancy of colour of electronic medium in addition to metallic fabric and high technical synthetic fiber. A color with pop culture connotations that weaver between technological allusions and Mcdonald`s.