This study paid attention to 'Japanese preference,' which has diverse effects on the whole of the modern fashion, and considered a form of costume dubbed 'Kosode(小袖),' which is based on this, in light of the transformational possibility of new for... This study paid attention to 'Japanese preference,' which has diverse effects on the whole of the modern fashion, and considered a form of costume dubbed 'Kosode(小袖),' which is based on this, in light of the transformational possibility of new formative aesthetics in the fashion circles. Japonism, which is shown over the whole of European social culture, can be found its origin from Ukiyoe(浮世繪), which is a genre painting in the Edo period of Japan as a work that was submitted to an international exhibition. Accordingly, the purpose of this study was to deeply grasp the Japanese taste in the modern fashion world through Gosode, which is Japanese traditional costume that was indicated in it, with seeing Ukiyoe as the root of Japonism. Hence, this study had the research subject as the Ukiyoe beauty painting in Edo period with judging that costume in those days can be thought in that Ukiyoe in Edo period is being depicted the contemporary Kosode realistically and in detail. Especially, it considered focusing on the works by Suzuki Harunobu(鈴木春信, 1725~1771) and Gitagawa Utama(喜多川歌麿, 1753~1806) who produced the majority of beauty paintings in this era. The aim was to multi-laterally understand the Japanese traditional aesthetics by analyzing, segmenting and considering the formativeness that was indicated in Kosode in their works. Accordingly, the following are the results that examined the traditional costume of the Ukiyoe beauty painting. First, a morphological change in Kosode, which was shown in the Ukiyoe beauty painting, notified the beginning of the country's culture, not the influence of foreign culture, unlike before. Kosode(小袖), which is the basic costume of a Japanese woman in this period, had no big change morphologically, but expressed originative beauty peculiar to Japan unlike before. Kosode got narrower in the whole width and got longer in the length of costume. The layering style peculiar to Japan, which has been handed down from the Heian period, was continuously maintained. Around the late Edo period, the area of a band got broader by the new design composition. Thus, diverse methods of tying a band made an appearance. Second, Gosode was appeared various patterns according to the design composition. Kosode, which is a top-and-bottom integrated style in the form of caftan, made up for the morphological monotonousness, which is linearly formed, with a pattern. These patterns were expressed their unique and brilliant patterns with the total composition and the contrary development composition by initially using diverse methods such as embroidery, Tie dyeing, and Yuzen Dye by reviving the beauty of Date(伊達). Third, the luxurious costume form in Jonin(町人, merchants and industrialists) came to decline owing to the luxury ban. Instead, the image of young girls in a red-light district that they had enjoyed frequenting came to be naturally reflected. This Iki thought was much used quiet colors. A polished color sensation was shown by using colors with low chroma such as chrominance, gray, blue and black. In this context, this study figured out the formative aesthetics in Kosode(小袖) as Japanese traditional costume, which became the basis of Kimono, through the beauty paintings. It was shown largely as ‘beauty of ornament’ and ‘beauty without ornament.’ This was touched ‘Date, Monono Aware(物の哀れ), Wabi·Sabi, Iki,’ which correspond to Japan's traditional aesthetic consciousness. As Date and Monono Aware(物の哀れ) conform to the brilliant aesthetic consciousness of being unveiled outwardly, those showed unique formative aesthetics by diversely adorning a costume through the influx and the production in embroidery, gold·silver leaf in China along with the development in the dyeing technique at that time. As the aesthetic consciousness in Wabi·Sabi and Iki is the one that is met with Japan's traditional Dado(茶道) culture and zen thought, those are indicated in the temperate and simple form, but showed a new aesthetic effect in a regard of having a courteous style inside it. The formative beauty in Kosode(小袖), which appeared as this aesthetic consciousness, could lead to possibly considering the convergent possibility with a modern fashion sensation along with a new aesthetic effect, which is shown by the layering-style costume culture peculiar to Japan, or by the arrangement in the color sense, and by the traditional pattern. In a regard of being touched the overall flow such as Japanese history, society and culture, the aesthetic consciousness, which was indicated through the costume dubbed Kosode(小袖), has aesthetic possibility available for allowing Japonism to be deeply understood and for thinking of new formative beauty in modern fashion beyond this. Accordingly, the analysis of formativeness in Kosode(小袖), which is shown in the Ukiyoe beauty painting, led to analyzing the global universality in Japan's traditional aesthetic consciousness, which is being transformed with being transplanted into Western culture, and to considering the possibility of new formative aesthetics. This study can be considered to have a significance in systematically establishing a thought and aesthetic consciousness peculiar to Japan and in making it available for a new and creative approach to modern fashion design through Kosode(小袖) in the Ukiyoe beauty painting, which has greatly influenced European society even until today in the aesthetic aspect.
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