구비설화에 나타난 ‘치마로 돌 운반하기’ 연구

김준희 한국고전연구학회 2024 한국고전연구 Vol.- No.66

본 논문은 구비설화에서 치마가 지형‧지물의 재료인 돌을 운반하는 도구로 등장하는 경우에 대하여 연구하였다. 전통적으로 치마는 여성의 옷으로 인식되었으며 치마를 입은 주인공 역시 여성으로 인식되어 왔으나 치마의 의미가 단일하게 형성되지는 않았으리라는 착안에서 출발하였다. ‘치마바위’로 불리는 다양한 설화들에 대한 자세한 연구가 이루어지지 않은 점, 치마로 돌을 운반하는 이야기가 마고할미 등의 여신과 관련되어 주로 거인 신화, 창조 신화의 측면에서 활발히 연구되었음에도 그 창조의 도구에 크게 주목하지 않았던 점을 보완하고자 하였다. 치마로 돌을 운반하는 이야기들은 ‘힘 센 여성 장사가-치마를 사용하여-돌을 운반한다’라는 서사를 전달한다. 여장사가 치마를 사용하는 경우, 그 목적은 땅에 정지해 있었을 돌을 들어올려 이동하는 것이므로 여기서 치마는 돌을 땅으로 끌어내리는 자연의 중력과 반대 방향으로 여장사의 완력을 행사하는 매개체로써의 도구이다. 아울러 이 치마는 바구니 등 다른 도구와 교환 가능한, 선택 가능한 도구가 된다. 치마의 존재는 여장사가 여성임을 드러내나 반드시 그 도구를 써야만 하는 것은 아니다. 그런데 치마가 해어지거나 펼쳐지면서 돌이 떨어지는 경우도 발생한다. 그러한 이야기는 여장사의 실수나 한계를 드러낼 수 있으나 자연적 중력에 의한 우연한 창조를 보여준다면 지형‧지물에 대한 관심과 함께 여장사의 완력은 여전히 인정받게 된다. 이러한 경우 여장사의 치마는 여전히 다른 운반 도구와 교환될 수 있다. 그러나 <오누이 힘내기>에서 보듯 가부장제와 같은 외부의 지배 질서에 의해 여장사가 운반을 포기하게 될 경우, 여장사가 직면하게 되는 한계는 문제적이다. 이는 치마가 더 이상 바구니와 같은 도구로 교환될 수 없음을 의미하며, 여성의 실패를 부각하는 성별화된 복장으로서의 치마의 의미가 부각된다. 자연적 중력을 이기는 완력이 부족하지 않음에도 지배 질서의 개입에 의해 치마를 놓게 될 때 여장사의 완력은 더 이상 받아들여지지 않는다. 한편 외적을 방어하기 위해 민중 여인들이 치마로 돌을 운반했다는 ‘행주치마’ 관련 전승에서는 다른 도구와 교환될 수 있는 치마의 의미가 일부 유지된다. 여기서 치마를 통해 행사되는 완력은 평범한 여인들의 힘이 모인 결과로서 집합적 완력의 성격을 띄게 된다. This paper examines the role of skirts in oral folktale as a means of transporting stones, a material used to create topographical features. It has traditionally been assumed that skirts are exclusively associated with woman's clothing, and that characters depicted wearing skirts are, by extension, female. However, this paper challenges that assumption by arguing that the meaning of skirts is not monolithic. The objective of this study was to address the gaps in the detailed analysis of the narratives designated as “skirt rocks.” It was observed that the narrative of transporting stones with skirts has been predominantly studied within the context of giant mythology and creation mythology in relation to goddesses such as Magohalmi. However, there has been a paucity of attention directed towards the tools of creation. The narratives of stone-carrying with skirts convey a representation of a strong female character who utilizes her skirt to carry stones. In the case of the woman's use of the skirt, its purpose would have been to lift and move stones that would otherwise remain stationary on the ground. Therefore, the skirt can be considered a tool as medium that enables the exertion of the woman's physical force in opposition to the natural force of gravity, which tends to pull the stones down towards the ground. In addition, the skirt may be regarded as a tool that can be used interchangeably with other items, such as a basket. The utilization of the skirt does not inherently indicate the gender of the individual employing it, nor does it necessitate the use of the skirt rather than other tools. However, there are instances where the skirt is worn or unfurls, resulting in the unintended consequence of stones falling. Such narratives may reveal shortcomings or constraints of the woman, but if they illustrate the inadvertent establishment of natural gravity, interest in topographical features and woman's physical strength remain evident. In such case, a woman's skirt could be exchanged for other transportation tools. Nevertheless, as it is seen in Onuihimnagi(the trial between brother and sister) tale when artificial gravitational forces such as patriarchy compel a woman to relinquish the act of carrying, the constraints she encounters are problematic. This indicates that the skirt is no longer interchangeable with tools such as baskets, thereby underscoring the meaning of the skirt as a gendered clothing. Despite retaining the capacity to overcome natural gravity, the strength of the strong woman is no longer approved when the skirts are let down by the intervention of the ruling order. On the other hand, in the “dishcloth skirt” tales, in which common women carried stones with their skirts to defend against foreign enemies, the skirt retains some of the meaning of a skirt that can be exchanged for other tools, but the power exerted through the skirt takes on the character of collective power as a result of the gathering of ordinary women.

타이트스커트의 제품정보와 부위별 비율조사를 통한 실루엣 특성분석 -인터넷 판매 브랜드제품을 중심으로-

강여선 ( Yeosun Kang ) 한국패션디자인학회 2014 한국패션디자인학회지 Vol.14 No.2

The purpose of this research was to analyze the proportions of the tight skirt silhouette. For this the ratios of the hip width, waist width, hemline width, skirt length, the width of belt and the amount of lowered waist were measured on pictures of 330 tight skirts in 2013. The information of skirt size, brand category, target age, and shape were also researched. There were 4 brand categories of young basic, young character, career, and women`s career while the target age was focused on the twenties. Therefore a lot of skirts were mini or micro-mini length, and this amount increased for semi-tight silhouettes. The proportion of skirt length was diverse, but micro-minis and minis shaping square with 1.0-1.3 were statistically different from natural-line and midi shaping rectangle with 1.6-1.9. Brand categories affected the changes in skirt length, hem-line circumference and low-waist amount. Young basic brand skirts appeared to have long rectangle silhouettes with a basic waist line, while young character brand skirts had short and low-waist silhouettes with a slightly wide hem-line. The belt width targeting twenties was the widest, and it became narrow as the ranges got older and wider. Almost all skirts reported the size information, but only 18.5% were practical sizes and they were very different even though their size designations were the same. This made it difficult for consumers to select a suitable size for their body. Therefore the size information about suitable body size and practical skirt sizes should be opened to consumers.

스커트 길이와 주가 지수 상관 이론인 헴라인 지수(Hemline index) 이론을 중심으로 한 패션 이론 검증 연구-1980~2013년을 중심으로-

김선숙 ( Seon Sook Kim ) 한국의류학회 2014 한국의류학회지 Vol.38 No.4

This study verified the ‘Hemline Index’ theory by George (1926) and established a new fashion theory frame to forecast future fashion cycles of skirts by analyzing the past fashion cycle of skirts through a dia-chronic method. Skirt pictures from 1980-2013 (the post-industrialized period of Korea) were analyzed and representative skirt styles, the fashion cycle of skirts and relation between skirt style, length, width and stock index were identified. A total of 1496 pictures in fashion magazine published over 34 years were selected and analyzed using PASW 18.0. The results were: For 34 years, representative skirts styles were mini skirt, midi skirt and long skirt. Fashion trend cycles of skirt length decreased for 10 years and the fashion cycle showed a trend to shorten. Skirt length & stock index related negatively and skirt length & skirt width rela-ted positively. All relations revealed significant results. Finally, the ‘Hemline Index’ theory of George (1926)was verified. Fashion marketers can develop successful and suitable products using a fashion cycle theory based on the results of this study.

앞과 뒤 실루엣이 다른 스커트의 가상착의와 실제 착의에 대한 주관적 외관평가와 형태특성 비교

이희란 ( Heeran Lee ),홍경희 ( Kyunghi Hong ) 한국패션비즈니스학회 2017 패션 비즈니스 Vol.21 No.5

Interests in 3D virtual clothing technology and its application in online shopping malls are increasing with the advent of the Fourth Industrial Revolution. Most studies on 3D virtual clothing, however, are focused on observing drapes or ease of virtual clothing depending on fabric properties of representative clothing items. Therefore, the purpose of this study is: first, to determine if current input of typical material characteristics in 3D CLO are sufficient to formulate virtual skirts with different front and back silhouettes; second, to determine if subjective appearance evaluation matched physical shape characteristics of those skirts. In this study, appearances of typical cotton, wool, silk, rayon, and polyester skirts with different front and back pattern were compared between actual and virtual clothing depending on fabric materials. Subjective appearance evaluation was conducted by 7 experts regarding similarity between actual and virtual clothing with a 5-point scale. For objective evaluation of the both types of skirt shape, degree of roundness at the cross section, displacement of side seam, position of back waistline, and the number of folds at the skirt back were observed. In the case of cotton and wool, not the subjective appearance evaluation as well as shape characteristics of virtual skirts were well matched to the actual shape of skirts with a few material inputs. However, current material inputs for silk, rayon and polyester were insufficient to cover material differences in formation of virtual skirts with different front and back silhouettes.

Drape Evaluation of 3D Garment Simulations for Flared Skirts

Lee, Joohyun,Kim, Hyun Ah,Nam, Yun Ja,Ryu, Hyo Seon The Society of Fashion and Textile Industry 2014 한국의류산업학회지 Vol.16 No.1

The virtual try-on technologies of the current level have limitations with material expression as well as some difficulties with commercialization. There are differences in simulation results and subjective evaluations perceived by consumers according to the types and physical characteristics of materials used in virtual try-on simulations. This study were to analyze the exterior clothing shapes and visual images from 3D virtual try-on simulations with materials whose drapability was differentiated and then test the accuracy of the expression of the drapability of the materials. The study carried out 3D virtual try-on simulations by selecting flared skirts as an item to best express differences in drapability along with five materials of different physical properties and offered some basic data for greater utilization of virtual try-on simulations by comparing and analyzing them with the exterior shapes and visual images of actual flared skirts. The analysis results of hemline shapes between actual and virtual try-on according to the types of materials showed no match among the quantitative items of exterior shapes factors. There were no significant differences in the visual images except for "soft" according to the simulation methods, which means that the items can serve as part of a scale for visual image comparison. It is necessary to reflect quantitative numbers regarding "drapability" proposed in the study simulation software and to continue to build a systematic database for virtual simulations by investigating and testing various materials.

TRANSACTIONS : Drape Evaluation of 3D Garment Simulations for Flared Skirts

( Joohyun Lee ),( Hyun Ah Kim ),( Yun Ja Nam ),( Hyo Seon Ryu ) 한국의류산업학회 2014 한국의류산업학회지 Vol.16 No.1

The virtual try-on technologies of the current level have limitations with material expression as well as some difficulties with commercialization. There are differences in simulation results and subjective evaluations perceived by consumers according to the types and physical characteristics of materials used in virtual try-on simulations. This study were to analyze the exterior clothing shapes and visual images from 3D virtual try-on simulations with materials whose drapability was differentiated and then test the accuracy of the expression of the drapability of the materials. The study carried out 3D virtual try-on simulations by selecting flared skirts as an item to best express differences in drapability along with five materials of different physical properties and offered some basic data for greater utilization of virtual tryon simulations by comparing and analyzing them with the exterior shapes and visual images of actual flared skirts. The analysis results of hemline shapes between actual and virtual try-on according to the types of materials showed no match among the quantitative items of exterior shapes factors. There were no significant differences in the visual images except for “soft” according to the simulation methods, which means that the items can serve as part of a scale for visual image comparison. It is necessary to reflect quantitative numbers regarding “drapability” proposed in the study simulation software and to continue to build a systematic database for virtual simulations by investigating and testing various materials.

Drape Evaluation of 3D Garment Simulations for Flared Skirts

이주현,김현아,남윤자,유효선 한국의류산업학회 2014 한국의류산업학회지 Vol.16 No.1

The virtual try-on technologies of the current level have limitations with material expression as well as somedifficulties with commercialization. There are differences in simulation results and subjective evaluations perceived byconsumers according to the types and physical characteristics of materials used in virtual try-on simulations. This studywere to analyze the exterior clothing shapes and visual images from 3D virtual try-on simulations with materials whosedrapability was differentiated and then test the accuracy of the expression of the drapability of the materials. The studycarried out 3D virtual try-on simulations by selecting flared skirts as an item to best express differences in drapabilityalong with five materials of different physical properties and offered some basic data for greater utilization of virtual tryonsimulations by comparing and analyzing them with the exterior shapes and visual images of actual flared skirts. Theanalysis results of hemline shapes between actual and virtual try-on according to the types of materials showed no matchamong the quantitative items of exterior shapes factors. There were no significant differences in the visual images exceptfor “soft” according to the simulation methods, which means that the items can serve as part of a scale for visual imagecomparison. It is necessary to reflect quantitative numbers regarding “drapability” proposed in the study simulation softwareand to continue to build a systematic database for virtual simulations by investigating and testing various materials.

한국 고대문헌과 일본 『만엽집』의 ‘붉은 색’ 비교 연구

이연숙 한국비교문학회 2009 比較文學 Vol.0 No.48

The color red used in 『Samguksagi』and 『Samgukyusa』is classified and discussed as follows: red color as one of the colors related to five directions, of which the red reflecting solar-worship thinking; red color as a means of signalling nation’s future crisis like red cloud, red animals, and water of blood color; red color as a symbol of an idealistic beauty in expressing flower as ‘red face’ and red color of incantatory functioning as in ‘red ship.’ There is a common feature that red color is mostly used as a sign of implying future events except its usage with clothing. In Korea, red color is mostly used as a sign of nation’s future events rather than personal feeling or sentiment of esthetic beauty of the color itself. One of the reason for this may be that 『Samguksagi』is a book of history. More importantly, it is analyzed that Koreans recognized the sentiment of color as a system of thinking rather than an object of beauty. In ancient Japan, red color is regarded importantly as one of the colors expressing five directions. Red cloud is not found in ancient Japanese literature. Red animals appear occasionally, but they express sensual and concrete sentiment of personal recognition of the object. This is a difference with the ancient Korean case. The red color of ancient Japan strongly reflects solar-worship thinking. It is also the color of incantatory function i.e., driving back calamity with the aid of coloring red clay on ship. Ancient Japanese seek sensual and sexual beauty of women in dynamic motion of trailing their red skirts. Many such examples are found in works of representative singers like Kakinomotonohitomaro(柿本人麻呂) and Ohotomonoyakamochi(大半家持), who dwelled in old palace and created works for empress and other women. Chinese literature like 『Yuseongul』and 『Okdaesinyoung』also would have an effect on Japanese works. The color red used in 『Samguksagi』and 『Samgukyusa』is classified and discussed as follows: red color as one of the colors related to five directions, of which the red reflecting solar-worship thinking; red color as a means of signalling nation’s future crisis like red cloud, red animals, and water of blood color; red color as a symbol of an idealistic beauty in expressing flower as ‘red face’ and red color of incantatory functioning as in ‘red ship.’ There is a common feature that red color is mostly used as a sign of implying future events except its usage with clothing. In Korea, red color is mostly used as a sign of nation’s future events rather than personal feeling or sentiment of esthetic beauty of the color itself. One of the reason for this may be that 『Samguksagi』is a book of history. More importantly, it is analyzed that Koreans recognized the sentiment of color as a system of thinking rather than an object of beauty. In ancient Japan, red color is regarded importantly as one of the colors expressing five directions. Red cloud is not found in ancient Japanese literature. Red animals appear occasionally, but they express sensual and concrete sentiment of personal recognition of the object. This is a difference with the ancient Korean case. The red color of ancient Japan strongly reflects solar-worship thinking. It is also the color of incantatory function i.e., driving back calamity with the aid of coloring red clay on ship. Ancient Japanese seek sensual and sexual beauty of women in dynamic motion of trailing their red skirts. Many such examples are found in works of representative singers like Kakinomotonohitomaro(柿本人麻呂) and Ohotomonoyakamochi(大半家持), who dwelled in old palace and created works for empress and other women. Chinese literature like 『Yuseongul』and 『Okdaesinyoung』also would have an effect on Japanese works.

조선시대 스란치마 연구

허정애(Heo Jung-Ae),송미경(Song Mi-Kyung) 한복문화학회 2014 韓服文化 Vol.17 No.3

The study aims to examine the seu-ran skirt during the Joseon period. The seu-ran skirt is described as a ceremonial skirt featuring seu-ran patterns, which were a horizontal decoration in the knee area or at the bottom. A two-tier seu-ran was called a ssang-seu-ran or a dae-ran. This study focuses on comparing the form of seu-ran skirts and seu-ran patterns in the Ming period and the Joseon period, and examining their characteristics in the different periods. Looking at the seu-ran skirt in the Ming period, the one-tier seu-ran skirt had decoration at the bottom of the skirt, while the two-tier seu-ran skirt had ornamentation in the knee area or at the bottom. Seu-ran patterns found in the seu-ran skirt in the Ming period include animal patterns such as phoenix patterns, giraffe patterns and dragon patterns, in addition to treasure patterns and floral patterns. As for the seu-ran skirt in the Joseon period, the hemline was placed in the knees and at the bottom in the mid-Joseon period before being arranged at the bottom of the skirt in the late Joseon period. The color of seu-ran skirts in the Joseon period included scarlet, dark blue and violet reddish. Seu-ran patterns found in seu-ran skirts in the Joseon period include patterns featuring images of children in the 16<SUP>th</SUP> century, patterns featuring images of children, phoenix patterns, giraffe patterns and patterns of birds and flowers in the 17<SUP>th</SUP> century, and dragon patterns, phoenix patterns and patterns featuring Chinese characters and flowers in the 19<SUP>th</SUP> century and in the 20<SUP>th</SUP> century. In the mid-Joseon period, seu-ran patterns were mostly gold thread patterns, while gilt patterns dominated in the late Joseon period.

16~18세기 조선시대 치마 주름의 조형미

김혜경(Kim Hye-Kyoung),조우현(Cho Woo-Hyun) 한복문화학회 2014 韓服文化 Vol.17 No.1

Joseon Dynasty Skirts represent so much a part of women’s clothing. Particularly, the simplicity of flat structure the pleats on them are the most important design elements which define the silhouette of the whole dress in that period. It was found that features and aspects as a design element on pleats classified by posture, materials, class and underclothes were affected and changed by external factors such as wearing configuration and others. Also, the combination of different lines of pleats reflects the inner world of Korean formative consciousness illustrating the vitality and energy with draping. While wearing skirts, the extra pleats play a role as darts allowing comfortable movements and highlight the feminine beauty and an oriental silhouette called ‘Sangbakhahu.’ It seems that Joseon Dynasty skirts are designed to have soft pleats with the oriental world view and the basic of Korean aesthetics that prefer natural beauty over artificiality suggesting adaptation to nature, harmony between human and nature, simplicity and unrestrictedness.