韓國傳統服飾의線을이용한디자인朝鮮時代男子喪服과男子袍制를中心으로

Abstract

The study of Korean clothes must not be only in ascertaining and preserving the traditional style, but must also go further as to modernizing and recreating it. It is from this viewpoint that I am attempting to recreate traditional Korean clothing through this study. The purpose of this thesis is finding the motive for the design of tradtional Korean clothes and producing a piece of work using native material, color, lines and cutting, thus informing the world of the beauty of our Korean clothing and showing them the possibilities of recreating traditional Korean clothes. For the theoretical basis for the production of these pieces of work, I first studied the concept of tradition and the historical background of Korean clothes, and then I examined mens' Po ( 袍 ) system of the Yi Dynasty and the composition, color, material, lines of the mens' mourning garment : all of which are motives for design. The basic silhouettes used for these pieces are Ek-Joo-Eum ; the underclothing for Chub-Ree ( 帖裏 ) out of mens' Po system, and the Choi-Wee ( 裏衣 ) and Choi-Sang ( 衰裳 ) wearing when Cham-Choi ( 斬衰 ). The material used were our country's native ramie fabric, flax, silk and linnen thread. Other than that, organdy, leather, metallilc chain and silver thread were also used. As for color, the natural color of the material was maintained and the straight line cutting method of the Korean dress was used. Altogether, I have created 8 pieces of work ; 2 of which I have used Ek-Joo-Eum ( 腋注音 ) as motive and which I changed the detail parts of the width of the neck, back and armpits ; 4 of which I have used mourning garments as motive and which presents an ample silhouette by wearing one garment over another ; 1 of which presents the form of Ek-Joo-Eum and silhouette of the Korean dress overlapped and 1 piece where Dopo ( 道袍 ) was used as motive and where the effect of the fabric quality of the material was highly enhanced. The characteristics manifested through the results of these pieces are as follows ; First, in the field of 'line' by wearing clothes one over another, a volumnous effect was obtained by the overlapping of lines and a solemn apprearance was projected by the use of straight lines and restricted curves. Second, I used the natural colors of flax, ramie fabric, unbleached cambric, silk etc. themselves, and found them to match well with the contemporary current of endeavoring to feel free, comfortable and natural. Third, in the ·field of 'composition', a loose, bouffant silhouette was portrayed by the overlapping of clothes. Forth, in the field of 'material', through the use of our native material, the natural color and the conciseness of structure plus the restriction of width proved to be an asset rather than limits in this design.;韓服의 硏究는 傳統樣式을 확인하고 保存하는데 그칠 것이 아니라 傳統樣式의 現代枕 내지는 再創造에 이르러야 할 것이다. 本 硏究는 이러한 의도에서 傳統韓服의 親代化를 시도한 것으로, 우리나라 傳統韓服에서 디자인의 모티브를 찾고 우리 固有의 材料·色·線·재단법을 이용한 作品을 制作하여 우리의 服節美를 世界에 알리는 동시에 傳統韓服의 再創造의 가능성을 보여 주고자 하는데 그目 的이 있다. 作品 制作을 위한 理論的 基盤으로 먼저 傳統의 服飾史論 背景을 考察하고 디자인의 모티브 ( motive )가 되는 朝鮮時代 男子袍制와男子喪服의構成·色·材料·線에 對해 살펴 보았다. 作最에 이용된 基本 실루엣 ( silhouette ) 은 男子袍制 중 道袍·帖裏의 속옷인 腋注音과 男子喪服 중 斬衰時의 衰衣와 衰裳이다. 使用된 材料는 우리 固有의 모시·삼베·명주·麻絲 그 외에 오간디·가죽·금속체인·은사등이며 色은 材料의 自然色을 그대로 살리고, 韓服의 直線재단법을 그대로 使用하였다. 作品은 총 8점으로 腋注音을 모티브로하여 목둘레·등·겨드랑이등의 部分的 디테일에 變化를 준 作品 2점, 喪服을 모티브로 하여 着裝時 겹쳐 입기에서 오는 풍성한 실루dpt을 연출하는 作品 4점과 腋注音과 喪服의 실루dpt이 겹쳐서 된 形態인 作品 1점, 그리고 道袍를 모티브로 해 材料의 질감효과를 살린 作最 1점이 있다. 이러한 作品의 制作 結果 나타나는 특징은 다음과 같다. 첫째, 線에 있어서는 여러겹 겹처 입는데서 오는 線의 중복효과가 볼륨있게 나타났고 直線과 절제된 曲線 使用에 依해 重厚한 느낌을 주었다. 둘째 , 色은 삼베·모시·생모시·명주등의 自然色을 그대로 使用해 자유롭고 편안하고 자연스럽고자 하는 現代覺感 잘 어울렸다. 셋째, 構成에 있어서는 겹쳐 입기에서 오는 여유감이 있는 풍성한 실루dpt이 연출되었다. 넷째, 材料에 있어서는 우리 固有의 材料를 그대로 使用한데서 오는 自然色과 組織의 간결함·幅의 제한이 오히려 디자인에 있어 장점으로 부각되었다.