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박옥련(Park Ok-Ryun),송미영(Song Mi-young) 한국인체미용예술학회 2002 한국인체미용예술학회지 Vol.3 No.3
The purpose of this study is going to course for nail design in fashion coordination. <BR> Nail design is influenced on total fashion, and paid attention to fashion coordination from the past to the present age. And a modern people is influenced important to total coordination, is included nail design. For the study of nail design 15 kinds of fashion collections samples has been followed hair, costume, makeup, coordination, nail design. Nail design is influenced a moderns all the more so to fashion collections.<BR> Nail design followed in collections<BR> First, Both effect by hair design by makeup and costume and color pattern , material is influenced nail design.<BR> Secondly, Not nail design by hand-painting , nail design by acrylic is express individuality, the simple expansion.<BR> Thirdly, Nail design by air brush give expression to gradation image.<BR> When this study considers the result, nail design followed in collections is going to total coordination.
朴玉連,李寬伊 慶星大學校 1998 論文集 Vol.19 No.2
In Tang Dynasty, the country was unified, the economy was prosperous and the political situation was relatively stable. These spelt the solid foundation on which the rich and colourful varieties in the women's fashion. The results of the researches were as follows. 1. Women were short jackets(유) and long skirts(裙), their silhouettes were long and triangle shapes. Also, they wore long and narrowed shawls(피) which colour and prints were brilliant and variegated. 2. In hair, the high bun style were very popular, by using the wig, hair pin, combs and Boyo(步搖). The style of cosmetics were various and strange, but they performed sexuality. The women's fashion of Tnag Dynasty greatly influenced the other countries.
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.
박옥련,윤현주 慶星大學校 1998 論文集 Vol.19 No.2
In this thesis deals with SUMUNYANG(Water Pattern) which stands for the birth and the resurrection of human and symbolize the infinite ability of man, and study of this will help understanding the thought of our ancestros about SU(water) and their unique skills in patterning. 1. The historical background of SU SU represents legendary originality of giving birth to a life and growth. As one of the ten elements of SIPJANGSAENG, symbolizes the cleaness and purity as the fundamental element of birth, and our ancestors patterned its infinity. Being as anoe of the five element of YEUM and YANG, SU belongs to YEUM, harmonizing HWA(fire), and enables all living things to be born and grow. Symbols of noe, six, seven, three which has the meaning of SU, stands for the existence of life and death in human beings. 2. Development of SUMUNYANG in its shape and pattern S-Shape and PASANGMUN, half-circled wave shape, patterning the movement of SU as S-shape or half-circle shape, are found in earthenware of Late stone Age(Neolithic Age) and in the patterns on sword of SAMKUK Age. WAGWONMUM (a swirl pattern) is appeared as simple linear and curved line in the Bronze Age. And movement of line became more realistic in the pattern on the mirror in KOREA Age. Padomun (murmuring wave pattern), being different from CHUNGHAEPA, shows its SU pattern lide th real thing. CHUMGHAEPAMUN represents geometrically repeated wavy pattern, and schematized SU the most realistically, this pattern are found in the Age of Yi Dynasty. 3. SUMUNYANG, shown in clothing is appeared as CHUNGHAEPAMUN and this pattern was popular on HYUNGBAE(mark on the garment and cloth of king and queen, MUNMUBAGKWAN. In this pattern, SUMUNYANG plays as the assistant pattern, and background pattern, and provides stability in the coposition.
박옥련,이현지 한국의류학회 2004 한국의류학회지 Vol.28 No.2
The purpose of this study is to analyze how the men's fashion with the representation of Feminization which has appeared on our specialized fashion magazine from 1990 though 2003. Firstly, the factor which exposed the representation of Feminization in men's fashion were the change of conventional sex role, the change of ideal beauty, the variety of information, the pursuit of personality and the polycentrism of thought. Secondly, the formative characteristics of Feminization in men's fashion represented fitted silhouettes which distinctively show the body line, elastic fabric and see-through fabric of androgynous image, accessory and wave hair which expressed in gentle image. In colors, it represented vivid tone, pastel tone, red colors and yellow colors. Fitted silhouttes and elastic of change of ideal beauty since 2000. Therefore, elements of representation of Feminization in men's fashion were silhoutte, fabric, color, accessory, hairstyle and the representation of feminity in men's fashion has referance to fashion.