한의학(韓醫學)의 좌우리론(左右理論)에 관(關)한 고찰(考察)

박승미 ( Seung Mi Park ),박히준 ( Hi Joon Park ),이향숙 ( Hyang Sook Lee ),손양선 ( Yang Sun Son ),임사비나 ( Sabina Lim ),이혜정 ( Hye Jung Lee ) 대한경락경혈학회 2001 Korean Journal of Acupuncture Vol.18 No.1

We could summerize the concept of the right and left mentioned in Nai-Gyung and some literature of oriental medicine as follow At first the right and left is a directional right and left which implys left-liver-right-lung(左肝右肺), left-yang-right-eum(左陽右陰), secondly it is also the road of eumyang which implys man-left-woman-right (男左女右), left-blood-right-ki(左血右氣), left-sinsu-right-myungmon(左腎水右命門), and left-right of pulse. left-liver-right-lung(左肝右肺), left-yang-right-eum(左陽右陰) and man-left-woman-right(男左女右) are expressions of the movement of yang which is a core of chang, at the same time, left-blood-right-ki(左血右氣), left-sinsu-right-myungmon(左腎水右命門), and left-right of pulse are expressions of the eum in response to the movement of yang. (go up and down of water and fire) Finally, both a directional right and left and a road of eumyang mean a road of going up and down of eumyang so, this is very important index in circulation and keeping ballance of eumyang (ki-Hyul: 氣血) in the human body therefore, we can treat a disease with acupuncture in the use of this charater, for example when a disease occurs in the left side, we can treat it with acupuncture in the right side, the same applys to right.

한의학(韓醫學)의 좌우이론(左右理論)에 관(關)한 고찰(考察)

박승미,박히준,이향숙,손양선,임사비나,이혜정,Park Seung-Mi,Park Hi-Joon,Lee Hyang-Sook,Son Yang-Sun,Lim Sa-Bi-Na,Lee Hye-Jung 경락경혈학회 2001 Korean Journal of Acupuncture Vol.18 No.1

We could summerize the concept of the right and left mentioned in Nai-Gyung and some literature of oriental medicine as follow At first the right and left is a directional right and left which implys left-liver-right-lung(左肝右肺), left-yang-right-eum(左陽右陰), secondly it is also the road of eumyang which implys man-left-woman-right(男左女右), left-blood-right-ki(左血右氣), left-sinsu-right-myungmon(左腎水右命門), and left-right of pulse. left-liver-right-lung(左肝右肺), left-yang-right-eum(左陽右陰) and man-left-woman-right(男左女右) are expressions of the movement of yang which is a core of chang, at the same time, left-blood-right-ki(左血右氣), left-sinsu-right-myungmon(左腎水右命門), and left-right of pulse are expressions of the eum in response to the movement of yang. (go up and down of water and fire) Finally, both a directional right and left and a road of eumyang mean a road of going up and down of eumyang so, this is very important index in circulation and keeping ballance of eumyang (ki-Hyul:氣血) in the human body therefore, we can treat a disease with acupuncture in the use of this charater, for example when a disease occurs in the left side, we can treat it with acupuncture in the right side, the same applys to right.

예술과 패션 : 20세기초 무대의상과 예술 ①

양숙희 淑明女子大學校 1992 論文集 Vol.32 No.-

무대의상에 나타난 그로테스크 이미지 연구 : 1990년 이후 무대의상을 중심으로

양숙희,김유경 숙명여자대학교 건강·생활과학연구소 2004 生活科學硏究誌 Vol.- No.21

Stage art diversifies the aesthetic values, and therefore, exaggerate the normal or ordinary images to feature them as grotesque or shocking. Such an exaggeration is more peculiar in stage costume or make-up. The stage costume delivers a message to the audience by using a visual language, while it is expressed as grotesque to allow the audience to experience a shocking catharsis. With such basic conceptions in mind, this study was aimed at reviewing the relationship between stage costume and grotesque art form under the circumstances where stage costume pursues an 'ugly aesthetics' and approaching the grotesque stage costumes from a viewpoint of aesthetics. To this end, the stage costumes were analyzed ranging from Renaissance when the term 'grotesque' emerged to symbolism, expressionism and surrealism. The grotesque image during Renaissance period was shown in the stage costumes for commedia dell'arte and court ballet, At that time, costumes were exaggerated for a comic or abnormal or grotesque image. Symbolists personified the dolls or produced Sphinx-like grotesque costumes to create a shocking mood for the audience. On the other hand, expressionist distorted or exaggerated the stage costume designs or silhouettes or changed their colors in order to express men's inside emotion. The result was a grotesque image. Surrealists used surreal objects for the stage costume, while combining the alienated ones, to express a grotesque inharmony. Based on the above discussions, the grotesque images shown in the stage costumes since 1990 were analyzed. To be more specific, based on P. Thomson's theory which attempted to define the grotesque in the 20th century, the researcher categorized the images of the stage costumes into demonic, playful, animal-like and mechanic images and thereby, determined the implications and values of the grotesque art. First, the stage costumes of demonic image appears in the stage costume for the villain characters. Black or red colors are frequently used for this purpose, and in terms of design and details, worn costume, abhorrent decorations or patterns, inconceivable bizarre styles or distorted proportion, balance or unity are used to express a grotesque image. In addition, such make-up properties as mask, mannequin, skeleton, fork-like long nails are used to highlight demon's aggressive and destructive image. The demonic characters are make up for black eyes or bloodless skin. Such costumes invoke a sense of aggression, shocking effect, cruelty, terror, weirdness or abhorrence and thereby, render a grotesque image. Second, the stage costumes of playful image use playful or bizarre styles to express comic but grotesque images. Such costumes use the primary colors mainly, and apply a kitch object to invoke a laughter. For example, the skeleton which is a bizarre object may be painted with the primary colors to look funny, or bisexual or personified costumes are used to invoke laughter and terror simultaneously and thereby, express inharmony and duality of the grotesque. Such playful costumes drive the audience into playful or satirical laughter, sick humor, demonic humor, jest or comic pleasure. Third, the stage costumes of animal-like image puts emphasis on the animal-like instinct inherent in men and thereby, personifies animals or make men and animal coexist. Mainly, hairs, horns, limbs, paws, sharp teeth, tiger felt or other objects invoking the image of beast are used. In other words, the different subjects or men and animals are combined to create an inharmonic, inhumane, abnormal grotesque image. The animal-like stage costumes are reminiscent of inhumanity, ugliness or grotesqueness. Fourth, the stage costumes of mechanic image emphasizes fusion of men and machines or their coexistence in the cyber age, and thereby, highlights anti-machine and inhumane grotesque images. These images are primarily surrealistic, while emphasizing the unbalance of colors or forms. These images use metals or acryl or other new materials, and add the electronic circuit board or sound effect devices to the costumes to predict an age of wearable computer. In addition, they emphasize an inhumane, grotesque image with a geometric make-up. After all, the mechanic image costumes induce the audience to feel an inhumanity and alienation. As discussed above, the grotesque images shown in the stage costumes since 1990 are demonic, playful, animal-like or mechanic, each of which has its own characteristics. As P. Thomson classified, inharmony, comicalness, shock, exaggeration and abnormality are overlapped with each other to express dualistic and insoluble conflicts.

오페라의상과 무대조명의 시각적 효과 : 리골렛토(Rigoletto)를 중심으로 Rigoletto

양숙희,김현수 숙명여자대학교 건강ㆍ생활과학연구소 1997 生活科學硏究誌 Vol.12 No.1

The purpose of study to show 1) that, based on the concep of opera costum throuht consideration of visual effect, the situation of costume on the syage shall be firmly set up, 2) that the visual effect of opera costume is divided by the visual effect of the formal and abstract antities which is percived in the situation of audience, and so the audience shall be oneness whith works, 3) that, by observing and analizing visually the features of the costume which is chainging according to wake the its importance as the factor controlling the ostchological state of the audience and by lighting, it is possible to perform the effective state by providing the interest and visual statisfaction to the play. Briefly summarizing the conclusion of this thesis as follows; 1. An opera costume is expressed with the close relationship with other visual elements, and especially for the costume designed in a major consideration of illumination will bring an increased modern sensibility and dramatic uniformity as a silent language. 2. The symbolic personal descriptions of the characters is exposed and adjusted along the variety of the illumination to the extent that it would deliver the psychological state of the figures in the drama. 3. The illumination which increases the visual effects of opera costume will express and create the essential phenomena, including shapes, colors and qualitative touch and will offer the visual singification and creative imagination, by harmonizing with the abstract entity of the psychological state of the audience and that of the characters. 4. By inquiring into Opera 'Rigoletto' as a sample study, the result of the analysis on the visual effect of the opera costume, varies along the illumination, are following as; 1) The formal and abstract entities by the illumination was varied and adjusted along the characters at Act Ⅰ Scene 2, Act Ⅰ Scene 2, Act Ⅱ Act Ⅲ respectively, and was formed a dramatic relationship between the natures of the costumes and the characters. 2) The stage illumination for each Act helped the audience increase their comprehension and attention along the psychological state of the characters, places and times. 3) The variety of costume through the effects of color filter influenced not only the changing appearance of the costumes but also the qualitative touch and its shape with possible expectation of the various visual effects. 4) The function of illumination offers the unique and broad possibility of the visual arts as sell as effective design options creating the variety of the elements of costume design, including the changes in silhouette, qualitative touch and creation of patterns.

예술과 패션 : 헨리 반 데 벨데(Henry van de Velde)를 중심으로 Focused on Henry Van de Velde

양숙희 淑明女子大學校 1993 論文集 Vol.33 No.-

Throughout history, artists have been interested on the costume, a new appraisal on costume has been raised from the beginning of the twentieth century. A major event to lead this movement was the exhibition "Artistically Reformed clothes", which was opened by the artists in 1900 at Krefeld. They announced the costume as an artistic object, and they made it possible to enhance the costume as art, by having good relationship with the industrial arts technologists who carried out reform in several ways at that time. The reformed clothes around 1990 have started from the two fundamentally different tendencies : one was the medical and hygienic side which was led by Paul Schultz Naumburg, so called "health clothes", and the other was the aesthetic side for which "artists' clothes" ultimately seek. The artists' clothes were based on the aesthetic movement in England. This movement was characterized by the followers of Raphaelite Brotherhood and the new industrial arts movement. In this, it is to be seen that women's clothes have reached a high level which the artists pursue. Also, the theoretic items and structural vocabulary in composition which characterize the reformed clothes, are well harmonized with the general artistic ideas of Jugendstil. This is to be divided into eight categories : 1) antishistoricism, 2) ration and logic, 3) composition principle, 4) the problem of decoration, 5) suitability of material, 6) the concept of beauty, 7) ethics, 8) new style, and this basically includes the theory and design of Jugendstil. The major concerns of the new style is to artistically accomplish every areas in life, and to find a proper composition principle in architecture, industrial arts, and women's clothes, by using ration, logic. beauty, and morality. The contributions of Henry Van de Velde, Peter Behrens, Paul Schultae Naumburg, Alfred Mohrbutter, and the other artists in the theory and composition, are to be characterized through the important areas of Jugendstil, and they provide a rich materials to understand this art period which has been underestimated. Van de Velde analyzed and subdivided the reformed clothes more deeply than any other artists in Jugendstil, and his achievement to recognize costume as art was a great undertaking in the costume history.

숙명여자대학교 학위예복 디자인 개발에 관한 연구

양숙희,손휘순,박진영,양희영,위혜정 숙명여자대학교 건강·생활과학연구소 2004 生活科學硏究誌 Vol.- No.21

Academic costume is a ceremonial dress represented authority and formality. This indicates a degree in a viewpoint of personality, and symbolizes academic authority and well matched social responsibility. Besides, it emblematizes separately university's identity and tradition, and could be utilized useful culturaltools visualized national culture and tradition. That is to say, academic costume is most effect visual medium, which symbolizes our subjective culture and academic authority and phase. Accordingly, creative academic costume's development is a link of active and positive efforts to be satisfied with various needs of spearhead information society in 21C. Academic costume designing development had been progressed a public opinion survey, theoretical examination, and research on the actual condition through various actual materials. Based on the above examination, this study performs designing development of a bachelor, master, and doctor's academic costumes. Designing development of academic costumes intend to be enlarged and developed academic costume's function as a symbolic cultural tool, which includes Sookmyung women's spirit as a beginningof the racial education. Moreover, this aims at active utilizing of academic costumes as a symbolic medium expressed Sookmyung Women's University's identity, which intends to realization of the racial education establishing women's education, racial identity, and subjectivity, and represents educational objectives planning to the ruling women's bringing up.

세기말 남성패션에 나타난 표상성

金素英,楊淑喜 服飾文化學會 2000 服飾文化硏究 Vol.8 No.2

With the current of the end of a century and social, economic, political, and cultural turbulence, people take advantage of the various ways to express their stagnation. This study introduces the term repersentativity and it will explain the fashion of the end of a century. On a theoretical basis, the concept of the representativity, image, symbol and imitation which are used as a tool for expression will be examined, and together with this, inner representation and outer representation will be categorized. The inner representation of the men's fashion in the end of a century can be taken for the purpose of connecting the image of masculinity. The image of masculinity is widely spread owing to the mass communication of a consumption-oriented society, so its hard to define that image as one thing specific. Hence, in order to discuss the male gender and mens fashion, New Man phenomenon should be noticed of, 1980's New Man influence has lasted till now. New Man images were largely categorized into two images like New Lad and Iron John after the mid 1990's. Therefore, the image of masculinity is largely classified New lad, who desires success and pursues the hedonistic life style and Iron John, who enjoys thrill and follows economical life style. The image of masculinity has influence on the outer representation how it is imitated and symbolized via many designer's works and street fashion. Two masculinity images are dominant over the men's fashion of the end of a century. One is inhumane and rational corporate power look that stems from symbolization and imitation of New Lad. The other is outdoor casual that originated from the symbolization and imitation of Iron John.

현대 복식에 나타난 "외부로부터의 해체" 현상 (제1보) : 1980년대부터 1990년대를 중심으로 From 1980's to 1990's

김주영,양숙희 한국의류학회 1997 한국의류학회지 Vol.21 No.8

Contemporary costume by the `Deconstruction' from the outside has shown disclosure, destruction, poverty and analysis. The conclusion of this thesis as follows, 1. The Deconstruction of disclosure by infra disclosed the underwear and inner structure outside, which has deconstructed a fixed idea i.e. `underwear must be in outwear', modesty versus immodesty and disclosure versus concealment. 2. The Deconstruction of destruction originated in punk look has rejected traditional manners and utility, at the same time, it has shown the ambivalence i.e. completeness versus incompleteness, making versus destructing by slashes, rips, fringes. 3. The Deconstruction of poverty has appeared as French avangarde mode, little black dress by Chanel, second hand style by hippy, blue jean, granny look, especially Rei Kawakubo's poor look influenced by Zen Aesthetics and post punk. It has looked like old and worn out dress by doing patchwork, dye, decolor, rip, fray, which has shown the decentring by concealing the body than disclosing, rejecting snobbery. 4. The Deconstruction of analysis, seemingly partial and patched is a violation only of our expectation of clothing's unbroken entity though it has looked like a fragment. The completeness and coherence of it is made more evident by its breach, void, and bond like a poetic language. As the result, disclosed, destructed, poor, and analytical costumes has expressed as an escape from the appearance which traditional aesthetic concept had pursued.

디지털시대 패션에 나타난 사이버페미니즘 연구 (제2보) : 미적가치를 중심으로 Focused on aesthetic values

김현수,양숙희 한국의류학회 2004 한국의류학회지 Vol.28 No.2

The Purpose of this study was to review the effects of the cyberspace mentality on fashion as a visible symbol of feminity and to analyze terns of its aesthetic values. As for the research methodology, relevant theories across cultures and disciplines are reviewed and an experimental study is conducted to explore spiritual objectives in cyberspace. Then, major issues facing the digital society, symbolized in the computer networks, are reviewed in terms of feminine identity and physical beauty from a feminist's viewpoint. Lastly, the aesthetic values found in the spatial meditation of a new dimension (reality versus virtuality) is comparatively analyzed. The virtual reality technology and bio-medical technology are combined to be represented in fashion to create a more realistic virtual world than the real one. Such a world may well be characterized by virtuality, artificiality, masquerade, and virtual or artificial implications may well be characterized by distopia, hyper, hybridity and Sur Reality.