고려시대 팔관회에 나타난 연희복식

임린,Yim, Lynn 대한가정학회 2017 Human Ecology Research(HER) Vol.55 No.5

This study considered the performing arts culture with a focus on Palgwanhoe Ceremony and various stunt-songs and dance (Baekhee-Gamoo) from the Goryeo period as well as examined the characteristics of performing arts' costume for Baekhee-Gamoo shown in Palgwanhoe Ceremony. The Baekhee-Gamoo shown in the Palgwanhoe Ceremony included acrobatics, traditions from comic dramas, puppet shows, mask plays, and four musical troupe flowers of youth in the Silla Dynasty, who excelled in beauty, bravery and the military arts (Sasun-Akboo). These were performed on a wagon ship with dragon, phoenix, and elephant animal masks (Yong-Bong-Sang-Mageosun). The characteristics of performing arts' costume for each performing arts are as follows. First, the general costume of the time was used for performing arts' costume. There were no special costumes for performing arts and it was just transformed or added for the efficiency of acrobatics. Second, the reality was improved by focusing on the historical research on costume suitable for characters and background of events in the performing arts to clearly deliver the purpose of the ceremony and quickly arouse audience's curiosity towards the performing arts' costume for the tradition of comic dramas and puppet shos in the Palgwanhoe Ceremony. Third, magical powers and symbolism were expressed through masks and performing arts' costumes. Palgwanhoe Ceremony aimed for magical powers that could protect weak human beings from threats and repel everything unfair while also symbolically showing the deified being through the performing arts' costume.

고구려 고분벽화에 나타난 놀이복식

임린(Lynn Yim),이태호(Tae Ho Lee) 한국복식학회 2010 服飾 Vol.60 No.3

고려시대 팔관회에 나타난 연희복식

임린 ( Lynn Yim ) 대한가정학회 2017 Human Ecology Research(HER) Vol. No.

This study considered the performing arts culture with a focus on Palgwanhoe Ceremony and various stunt-songs and dance (Baekhee-Gamoo) from the Goryeo period as well as examined the characteristics of performing arts’ costume for Baekhee-Gamoo shown in Palgwanhoe Ceremony. The Baekhee-Gamoo shown in the Palgwanhoe Ceremony included acrobatics, traditions from comic dramas, puppet shows, mask plays, and four musical troupe flowers of youth in the Silla Dynasty, who excelled in beauty, bravery and the military arts (Sasun-Akboo). These were performed on a wagon ship with dragon, phoenix, and elephant animal masks (Yong-Bong-Sang-Mageosun). The characteristics of performing arts’ costume for each performing arts are as follows. First, the general costume of the time was used for performing arts’ costume. There were no special costumes for performing arts and it was just transformed or added for the efficiency of acrobatics. Second, the reality was improved by focusing on the historical research on costume suitable for characters and background of events in the performing arts to clearly deliver the purpose of the ceremony and quickly arouse audience’s curiosity towards the performing arts’ costume for the tradition of comic dramas and puppet shos in the Palgwanhoe Ceremony. Third, magical powers and symbolism were expressed through masks and performing arts’ costumes. Palgwanhoe Ceremony aimed for magical powers that could protect weak human beings from threats and repel everything unfair while also symbolically showing the deified being through the performing arts’ costume.

한국 가계양식의 변천과정과 특성에 관한 연구

임린(Lynn Yim),김은정(Eun Jung Kim) 한국복식학회 2005 服飾 Vol.55 No.7

18~19세기 동아시아 여성의 가체문화와 의미

임린 ( Lynn Yim ) 대한가정학회 2019 Human Ecology Research(HER) Vol.57 No.3

This study examined what meaning East Asian women showed in their costume history through a discourse of hair adornments such as wigs and that Gache was not just a luxury decoration. In addition, we examined Gache hair trends with Eonjeun-meori (braid wraps around the entire head) in the Joseon dynasty (Korea), Gigye (旗髻) hair in the Quing dynasty (China) and Mage (髷) hair in the Edo period (Japan) during the 18^th and 19^th centuries. The significance of the phenomenon of East Asian Gache culture in the 18^th and 19^th centuries was analyzed from the internal desires of women. The details are as follows. First, the magnification by the hair decoration was identified with self-authority and used as a sign to express self-respect or a desire for self-esteem. The extended Gache was an external body extension to raise self-authority and increase activeness. Second, self-satisfaction through showing off was associated with a women's search for identity. There was excessive consumption to boast status, wealth and femininity, but the mania continued because women obtained psychological satisfaction by feeling that their sacrifices for the Confucian order were compensated. Third, the frenzy of Gache was accepted as a way for women to resist social regulations and find themselves as main participants in social activities. Showing their appearance in East Asian Gache culture was a way of inner self-searching and a process for women to find themselves as a social entity.

보문 : 한국과 중국 고분벽화에 나타난 고대 가계의 비교연구

임린 ( Lynn Yim ) 한국의류학회 2012 한국의류학회지 Vol.36 No.7

The characteristics of ancient gagye (the cubic hair style which added wigs or other materials to hair) that appeared in mural paintings were compared between Pyongyang and Jian in Goguryeo and the midlands, the northwest region, and the northeast region in China for the same period (Han to Weijin, and Northern and Southern Dynasties). Gagye in Korea and China was classified into circle type, hat type, high-bun type, and multi-bun type; in addition, Han elements, northern race elements, Goguryeo elements, and uniqueness were compared and analyzed according to regional distribution, trend periods, and style characteristics. The Han elements of ancient gagye in Korea and China appeared in the hat type, the highbun type, and accessories that left the hair down. The northern race elements were found in the circle type and multi-bun type. The uniqueness of Goguryeo elements included a circle from the circle type, a triangle style from the hat type, an up-do style from the high burn type, and simplified hair accessories.

한국(韓國) 고대(古代) 가계(加계)의 기능(機能)과 의미(意味)

임린(Lynn Yim),김은정(Eun Jung Kim) 한국복식학회 2009 服飾 Vol.59 No.2

고구려 고분벽화에 나타난 가계양식 연구

임린 ( Lynn Yim ),김은정 ( Eun Jung Kim ) 대한가정학회 2006 Human Ecology Research(HER) Vol.44 No.4

확대형 두발양식의 미적특성에 관한 연구

임린(Lynn Yim),김은정(Eun Jung Kim) 한국복식학회 2007 服飾 Vol.57 No.4

연구논문 : 삼국시대 여자 머리장신구 특성에 관한 연구

임린 ( Lynn Yim ),김은정 ( Eun Jung Kim ) 한국의류산업학회 2014 한국의류산업학회지 Vol.16 No.5

This study classifies features of women’s hair adornments with the functional and decorative aspects in the Three Kingdoms Periodand analyses in regards to their contemporary social and cultural surroundings. First, the treeshaped and Rod-like hairpins in the Three Kingdoms Periodare not as similar as to the hairpins found in China or other northern countries. It is farming lives and the wood-worship religion established the wearing of high-bun hair styles and tree-shaped hairpins. Second, high-bun hair styles and -shaped hairpins were basic hair decorations during the Three Kingdoms Period. Common high-bun styles finally became one of the cultures that reflected the contemporary thinking. High-bun hair styles, not excessively-decorated, became harmonized with the costume beauty and later developed along with with various -shaped hairpins. Third, Buyao (made of metals and based on flower subjects)in the Three Kingdoms Periodwas a unique style not been seen in the Han and Wei-jin-nam-bei-chao Period. Flowers in Buyao of the of the Three Kingdoms Period show an elegant sway, which is not excessively-decorated that developed into unique features.