일본 소수 (小袖) 에 나타난 문양 분석

박옥련,이행화 한국의류산업학회 1999 한국의류산업학회지 Vol.1 No.1

The study has examined about the origin and change of traditional Japancese dress "Kosode" and classified it according to its ages and also classified its patterns which appeared on the Kosode by its kinds, and divide the patterns with constituent method and expressional method and so, studied and analyzed them with type of patterns according to the change of the times. The result of research were as follows: 1. Subject of patterns that appeared on the Kosode was used with mainly plant pattern, animals pattern, pictorial pattern, artificial pattern, and abstract patterns. 2. Expressional method of this patterns was mostly expressed simply with tie dyeing in ancient times, but it changed complex its expressional method and diversely due to the development of common's culture as time goes on. 3. For the arrangement of its pattern were arranged regularly mostly make demarcate and though they are as if seemed dispersed, but a characteristic that can find regulations in it. 4. Transition of patterns that appeared on the Kosode it developed at the beginning of ancient syouboon, Katasuso pattern and Katamigaori patterns at the samurai's society in the medieval society and developed to Koicho kosode and Kambun kosode in modern times.

헤어스타일 변화에 영향을 준 요인 연구 - 1910년~1940년을 중심으로

박옥련(Park Ok-Ryeon),정봉자(Jeong Bong-Ja),정지영(Jeong Ji-Young) 한국인체미용예술학회 2003 한국인체미용예술학회지 Vol.4 No.2

  Between 1910 and 1940, a variety of hair styles that were not decorative but functional and simple were presented as rapid social and cultural changes occurred after the 1st and 2nd World Wars.<BR>  Thus the purpose of this study is to provide basic information necessary for studying changes in costume and hair styles according to their times actually by examining correlations between the abovementioned period and the styles.<BR>  For the purpose, these researchers reviewed written histories of costume, world and decoration, related paintings, beauty-related materials, journals and Internet, and analyzed factors that influenced hair styles between 1910 and 1940.<BR>  In 1910s, influences of Art Deco, pursuing simplicity and linearity, and women"s social participation changed costumes to be active and non-decorative. Under this trend, hair styles employed linear silhouette to make the head look small. which were represented by Bob Style.<BR>  In 1920s, costumes became functional and decorations simplified, which were influenced by the 1st World War, functionalist modernism and women"s social participation. In a similar vein, Etom Crop which was active and boyish became one of the main hair styles.<BR>  In 1930s, seeking linearity and rigidity like in the last decade was not interesting any more. Therefore, streamlined and curved costume styles were created. And hair styles were represented by Page Boy Style revealing the beauty of curves with waves on the tip of the head. In that period, hair styles of blonde actress Jean Harlow and Greta Garbo were in fashion as Hollywood movies became popular as part of escapism brought by economic panic.<BR>  In 1940s, the 2nd World War influenced costumes to take masculine styles, for example, military look and bold look. At that time, Page Boy Style of 1930s was transformed by seeking smaller sizes and simplification. And berets were often used to create harmony with masculine silhouettes.<BR>  In summary, hair styles were changed and developed under influences by situations of the times, artistic trends and costume styles.

의상과 메이크업에 따른 토털코디네이션에 관한 연구

박옥련(Ok -Lyun Park),박주현(Ju-Hyun Park),여상미(Sang-Mee Yeo) 한국생활과학회 2008 한국생활과학회 학술대회 Vol.2008 No.하계

라이프스타일 집단별 혼례용 패션명품 소비자의 브랜드 선호도 및 구매행동 연구

박옥련 ( Ok Lyun Park ),류미애 ( Mi Ae Ryu ) 한국패션비즈니스학회 2008 패션 비즈니스 Vol.12 No.5

일본에 소장된 고려 陽柳觀音圖의 복식 문양 고찰

박옥련 한국일본근대학회 2013 일본근대학연구 Vol.0 No.41

This research has comparatively analyzed certain patterns emergent from "jewel crown", "veil", "skirt" and "shawl" in "the painting of Willow Guanyin Figure (楊柳觀音圖: yangyukwaneum-do)", through which to examine not only the then period’s characteristics but also these patterns’ explicit expressions and the implicit meanings embedded in them. Clothing patterns appearing from the painting of yangyukwaneum, one of the Buddhist paintings of the Koryo era, is really colorful and excessively decorative in contrast to its Chinese and Japanese equivalents. During the Koryo era, Buddhism has been highly revered, resulting in many Buddhist paintings being produced. For instance, there is such a Buddhist painting originating in the palace as that owned by the Kyungshin Temple. In particular, this Buddhist painting is the work of a professional painter, hence quite finely and elaborately painted. The temporal characteristics and implicit meanings that the painting of yangyukwaneum has are largely three-fold: [1] various sorts of patterns, [2] rich color and [3] the frequent use of phoenix pattern quite common in royal Buddhist paintings. In this sense, the Koryo people’s all-time desire to be free from restraints can also be detected in the "cloud-pattern" and the "flying phoenix-pattern". In addition to them, what this painting implies is also characteristically multiple. For instance, such objects connotative of Buddhism as the "patterns of po-phase or lotus flowers" has been used, and the "chrysanthemum-pattern" based on Taoism and the "turtle shell-pattern" popular in folk beliefs have been naturally combined. 본 연구는 현존하는 고려불화 중 일본에 소장된 양유관음도의 頭飾, 베일, 裳, 領巾 등에 나타난 문양을 비교・분석해 시대적 특색 및 형태적 표현과 내재된 의미를 연구한 것이다. 고려불화 중 양유관음도의 의상에 나타난 문양은 중국이나 일본의 관음도에는 거의 문양이 없는데 비해 의상 전체가 화려한 색채와 문양으로 덮혀 과잉 장식적인 느낌이 들 정도이다. 고려시대는 숭불의 기운이 높았던 시기여서 궁정으로부터 발원된 귀족적인 불화로 鏡神寺 소장품 등이 있으며, 전문화원이 불화를 그려 솜씨도 섬세하고 치밀하다. 고려시대 양유관음도에 나타난 시대적 특색과 내재된 의미를 보면 문양의 종류도 다양하고 색채도 화려하며 특히 귀족적인 문양으로 봉황문을 애용해 궁정불화의 특색을 보인다. 飛雲文이나 봉황의 나는 모습에서 고려인들의 속박에서 벗어나고자 하는 시대적 염원도 나타난다. 그 밖에 내포된 의미도 복합적인 성격을 지녀, 불교적 의미를 함축한 소재로 寶相花나 蓮花文이 사용되며 道歌的 사상을 지닌 국화문, 민간신앙 속에 애호를 받던 龜甲文 등이 자연스럽게 조합되어 있다.

조선시대 여자예복에 나타난 문양고찰

박옥련,여상미 경성대학교 2000 論文集 Vol.21 No.1

As a result of examining patterns of woman's ceremonial dress in chosun era, on the formal dress of a queen were pheasant drawing and small flowers packed drawing in a line formation on deep blue silk, And there are dragon patterns coated with gold foil on red violet ornamental patch along the end of collar, sleeve and Doryun. A ceremonial dress of prince's wife and royal grandson's spouse has phoenix pattern. Looking at a ceremonial dress of woman, on crimson silk ground were embroidered with ripples, rocks, herbs of eternal youth, mother phoenixes, child phoenixes, butterflies. lotuses, peonies and youngsters, meaning the longevity an favorable auspices. Besides that, sentences such as 'A good harmony between man and woman', 'Wish for good luck', 'Longer life like a mountain' and 'Richer wealth like sea', etc. were ornamented. A ceremonial dress of a queen was colored with either red violet or red orange, and a drawing of phoenixes on clouds was fabricated with either red violet or red silk cord. For a big which was fabricated with gold threads designing five claws dragons draped with clouds. For a brief ceremonial dress, Hyungbae(chest decoration to describe ranking) was attached which was fabricated with gold threads designing double phoenixes. Beyond just depiction of decoration of natural things, symbolic expressions were made into patterns based on a belief that there are spelling power in the world to exert the absolute power unable of being compared with human mere ability.

고려시대 水月觀音圖의 의상에 나타난 문양연구

박옥련 한국의류학회 1992 한국의류학회지 Vol.16 No.1

Studying the dress style of the Buddhist Goddess of Mercy SU WOL KWAN EUM DO (Drawings on the Buddhist Goddess of Mercy who is watching the Moon reflected in the still water), it is composed of a splendid, jewel crown with five colors, a light and flimsy, non-colored veil with many kinds of gold-plated patterns. This gold-plated carapace figures on a scarlet ground are drawn on the veil and the oval-type flower figures mixed with a scarlet lotus blossom and arranged. An arabesque pattern of BOSANGHWA (an imaginary, Buddhistic flower figure) is mainly used for both line decorations and necklace. Like this, various kinds and types of figures are in harmony in spite of many changes in figure design. The SU WOL KWAN EUM DO in Koryo dynasty is full of colorful, subtle, harmonious figures which are unique style, which cannot be found in japan, China, and so on. In other words, most of most of dress patterns which are shown in SU WOL KWAN EUM DO are China ink paintings with mountains and waters as its setting. In case of color painting, figure designs are seldom used. The dress pattern in SU WOL KWAN EUM DO of koryo dynasty is characteristic of its variety and magnificent colors.

유아복 구매자들의 쇼핑성향이 추구혜택에 미치는 영향

박옥련,이지나 한국의류학회 2009 한국의류학회 학술대회논문집 Vol.2009 No.1

시대별 인물화에 나타난 화장문화 고찰

박옥련(Ok Reon Park),박경미(Kyoung mee Park) 한국생활과학회 2008 한국생활과학회 학술대회 Vol.2008 No.동계

唐.新羅.奈良時代 服飾의 比較硏究 : 男子服飾을 中心으로

朴玉連,李英珠 慶星大學校 1995 論文集 Vol.16 No.2

The purpose of this study is to compare for the male costume among Tang, Silla and Nara. The main results were as follows: 1. The costume institution and costume of Silla and Nara were influenced hugely costume institution and costume of Tang. Especially, the government official costume of were influenced hugely. 2. Bok-Du, Kwan-Soo, Dan-Ryeong, Ban-Bi, Sang and Ko were influenced costume of Tang 3. It had a mixture of Tang costume and original costume of Silla and Nara. So, In Silla and Nara changed to the dual system.