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          한국 고대복식의 스키타이 복식 유래설에 대한 실증적 검토 - 유물에 나타난 두 복식유형간의 공통점 및 차이점 분석 -

          장영수(Youngsoo Chang) 한국복식학회 2020 服飾 Vol.70 No.2

          This study re-examines the theory - accepted as common knowledge in Korean academia – that the Scythian costume is the archetype for the ancient Korean costume. In order to verify this belief, the study (which is limited to men’s clothing) analyzes the commonalities and differences in the details of the two types of costume. The research method entailed literature research and artifact analysis. The conclusions are as follows: the basic structure of Scythian and ancient Korean costumes is the same, consisting of a jacket, trousers and a waistband; further commonalities are 1) the open form of the jacket, 2) closure of the jacket on the left, and 3) the hem of the jacket. The differences are 1) in the jacket: the form of the bottom hem (Doryun), the location of the hem (Seon), and the attached cap in the back; and 2) in the trousers: the width of the trousers, the ending form of the trousers, the presence of a hem on the end of the trousers, and the presence of a Dang (added piece of fabric on the hip). The many differences between the two costumes suggest that previous claims that the Scythian costume is the archetype of the ancient Korean costume should be revised.

        • KCI등재

          인상주의 회화에 나타난 서양복식의 특성 고찰

          조민형(Minhyung Jo),박신미(Shinmi Park) 한국복식학회 2018 服飾 Vol.68 No.5

          This study aims to investigate the visual tactility of women"s dresses in impressionist paintings and in the mid-to-late 19<SUP>th</SUP> century. The research questions are: What is the relationship between the visual and tactile senses, and what multiple visual sensations extend through the relationship? How is haptic visuality defined and what are its characteristics in impressionist paintings? How is visual tactility defined and presented in the women"s dresses in impressionist paintings? What are the characteristics of women"s dress designs in impressionist paintings and in the mid-to-late 19<SUP>th</SUP> century? What are the attributes of the visual tactility of women"s dresses in impressionist paintings and in the 19th century, and how do they compare? The research methods include a literature review and content analysis. In conclusion, the visual tactility of women"s dresses in the mid-to-late 19<SUP>th</SUP> century was that of the space created by structural variability of flexible exaggeration. In addition, the general visual tactility (variability of form, illusion of color, and surface reconstruction of materials) is inherent in the dress.

        • KCI등재

          중국정사조선전(中國正史朝鮮傳)의 한국고대복식(韓國古代服飾)

          김진선(Jin Seon Kim),고부자(Bou Ja Koh) 한국복식학회 2014 服飾 Vol.64 No.1

          This study is based on the official Chinese history of the ancient Korean(中國正史朝鮮傳) clothing and ornaments, and also tries to discover, study, and adjust the system of the ancient Korean clothing and ornaments. Ancient Korea has very poor official records of its clothing and ornaments. Therefore, this study had no choice but to rely on the official Chinese history to cover for the lack of resources. The official Chinese history documents are not only important for studying ancient Korean history, but also important for studying about the ancient Korean clothing and ornaments. This research selected historical documents about the ancient Korean clothing and ornaments from fifteen different Chinese dynasties` official documents, and then systematically classified the documents in order to compare them. All these processes confirmed the following subjects. In regards to the Kwan(冠: general hat), the hat types included Check(?), Byun(弁), Jeol-poong(折風), Jowoo-Kwan(鳥羽冠), So-gol(蘇骨), and Na-kwan(羅冠). These Kwan(冠) were influenced from Chinese clothing and ornaments. Gold and silver decorations on the Kwan(冠) were influenced from the Scythai culture. The feather decorations on the hat were residual of the bird worshiping culture or the hunting lifestyle. These things show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the North. But the use of Jo-woo(bird feather) was common around the globe in many ways during the ancient times, regardless of area and period. The official Chinese history describes men`s hair style as Choo-gyul (?結) or sometimes pronounced, Choo-gyul(椎結). These seem to describe the topknot. Women had various types of hair styles such as Yu-byun-bal-su-hu (女?髮垂後: wear women`s hair in a braid). The official Chinese history show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the north. The ancient Korean clothing and ornaments influenced and were influenced by its neighboring countries.

        • KCI등재

          1970년대 서양복식에 나타난 동양 복식미의 다각적 분석

          장남경(Nam Kyung Jang) 한국복식학회 2003 服飾 Vol.53 No.1

          본 연구의 목적은 (1) 1970년대 서양복식에 존재하는 오리엔탈리즘의 반향에 대해 정의하고, (2) 서양 복식을 통해 표출된 오리엔탈리즘의 의미를 당시 정치, 사회, 문화적인 측면과 연결하여 탐구하는데 있다. 이론적 틀로는 문화인류학 이론에서 유래된 Hamilton의 Unifying Metatheory of Clothing and Textile(1987)이 적용되었다. 연구 방법으로는 1970년부터 1979년까지 미국에서 발행된 총 142권의 VOGUE 잡지 중 80권을 분석하여, 오리엔탈리즘이 보여지는 45장의 패션사진을 자료로 추출한 후, 연도, 디자이너의 소속 지역, metatheory에 따라 분석하였다. 각 연도별로 오리엔탈리즘이 표현되는 정도와 방법은 다양하였다. 서양디자이너들은 동양의 전통의상을 거의 그대로 모방하거나 하나 이상의 국가들의 전통의상 디자인 요소들을 하나의 복식에 혼합, 표현하는 방법을 주로 보여주는 반면, 동양 디자이너는 전통의상을 포함한 자국의 다양한 문화적 요소들을 서양복식에 도입하여 표현하였다. 또한, 본 연구에서는 복식에서 보여지는 시각적인 면의 분석과 더불어, 1970년대 당시 미국의 정치, 사회, 문화전반의 상황과 복식에 있어서 오리엔탈리즘의 도입과의 영향관계가 파악되었다. 따라서, 복식을 연구함에 있어서 문화인류학적 이론과 같은 다른 분야의 이론의 적용은 복식을 새로운 측면에서 이해하는 넓은 안목과 통합적인 틀을 제공한다는 측면에서 가치가 있다고 사료된다.

        • KCI등재

          일본 소설 『호토토기스(不如帰)』(1900)를 통해 본 복식문화

          노무라 미찌요(Michiyo Nomura) 한국복식학회 2020 服飾 Vol.70 No.6

          This study was conducted to gain a deeper understanding of the costume culture at the time the modern Japanese literary work, Hototogisu, was written. The study analyzes costumes described in the novel and considers the contexts in which they are expressed, along with the contemporary costume culture. The following findings have been verified. The traditional knot, a kind of female hairstyle, varied depending on the age or marital status of the wearer: short hair for childhood, Osage[垂髪] for students, Shimada[島田] before marriage, and Marumage[丸髷] after marriage. It was impossible to infer the marital status of any females from the Western roll-up hairstyle. Kimonos worn by upper-class females were divided between modest and gorgeous ones. Dignified figures were often described to wear the former, while rich or young women with strong characters were often depicted wearing the latter. On the other hand, farmers were often described as wearing coarse cloth. Western clothing was not yet introduced for females; only Western hairstyles and some items were imported. The engagement ring culture was introduced and shawls were added to Kimonos. Males wore suits or the traditional costumes as their outdoor clothes, depending on their jobs. The representative traditional costume for going out was Haori-hakama[羽織袴]; whether they wore suits was important, but a common understanding of the details had not yet been established. When they returned home, they usually work Kimonos as roomwear. They often wore hats, bags, and shoes and carried walking sticks. Even people who wore the traditional costumes for going out had disheveled hairstyles and used some Western items, such as hats and bags. The social status of the wearers of such traditional costumes was determined by the clothing materials, and there were rain outfits used only for a specific job class.

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