• Title/Summary/Keyword: Buddhist costume

Search Result 70, Processing Time 0.029 seconds

Study on the Excavated Costumes of Yeon-An Kim Clan, a Wife of Mong-Nam ($1534{\sim}1574$), who Belongs to Nam-yang Hong clan (16세기 여성 복식에 관한 연구 - 남양홍씨 몽남(夢男: $1534{\sim}1574$) 배위 연안김씨 묘 출토복식을 중심으로 -)

  • Song, Mi-Kyung
    • Journal of the Korean Society of Costume
    • /
    • v.57 no.8
    • /
    • pp.125-136
    • /
    • 2007
  • This study is about the excavated female shroud while moving the graveyard of Nam-yang Hong clan in Yang-pyeong, Gyeonggi Province to other place. It is acquired as Yeon-An Kim clan who is a wife of one of Nam-yang Hong clan and history is estimated to 16th Century. Significance of this excavated female costumes is, 1) a Dan-ryeong, which is typical costumes during 16C. for woman is excavated. It is embroidered with peacocks shaped badge in fore and backside on a clothes, which is understood as the symbol of highest status but it is considered as much higher than actual status of her husband. from this, we can assume that burial costumes and regulation for actual clothes by the status are not exactly matched. 2) Various form of Chima and Jegori also found in the grave along with a Buddhist banner(幡) printed with Darani(多羅尼) which is unusual in Chosun dynasty, under confucian influence. 3) An embroidered design pillow was collected first time, which make us enable to understand the in-house life style of 16C.

Studies on the Costume of Gamrotenghwa in Choson Dynasty (조선시대 감로탱화 풍속장면의 복식 연구)

  • Yang, Suk-Hyang;Lee, Tae-Ho;Lee, Kyeung-Hwa
    • Fashion & Textile Research Journal
    • /
    • v.5 no.5
    • /
    • pp.481-494
    • /
    • 2003
  • The Gamrotenghwa of the Choson Dynasty is a unique genre of buddhist painting in that the destiny of the dead souls and the guidance to nirvana are expressed in reality. More than 50 of the Gamrotenghwa are known to be present, and the lower part of the paintings includes a wide assortment of folk customary scenes reflecting the social life style of the time when the painting was drawn, such as difficulties in life. public life, punishment and war. Changes in the costume of the people shown on the customary scenes of the Gamrotenghwa according to the time based changes in painting style were investigated in this study. The results are summarized in three points. First, the costumes of bureaucrats showed a tendency of preservation without any major changes in the painting. On the other hand, costumes of public and entertainer in the scenes were very close to those worn by the people at that time. The realistic description of public life in the painting may establish the value of the Gamrotenghwa as the historical documents. Second, the costume of the people in the painting showed a dual structure as the social positions; bureaucrats wore various official hats, large coats and belts to expose their social prestige. while the general public wore simple and convenient clothing which is divided into shirt and pants. The dual structure of the costume in the painting is in well accordance with that of the later period of Choson dynasty, suggesting that the customary scenes in the painting represent the social life style of the period. Finally, the customary scenes in the Gamrotenghwa are very variegated. which shows a variety of beauty of wearing even though they look coarse in a sense. The diversity of wearing beauty in the picture may contribute to the recreation of the beauty of shape in the new design of Hanbok.

Conservation of Buddhist Monk Samyeong's Geumran-gasa and Jangsam, the National Folklore Cultural Heritage No.29 (국가민속문화재 제29호 사명대사의 금란가사와 장삼의 과학적 조사와 보존)

  • Chung, Young Ran;An, Bo Yeon
    • Journal of Conservation Science
    • /
    • v.33 no.6
    • /
    • pp.443-456
    • /
    • 2017
  • The Geumran-gasa (Kasaya) and Jangsam of the monk Samyeong are historical relics and were designated as object No.29, a Buddhist costume of the Joseon Dynasty, by the National Folklore Cultural Heritage, in 1973. In 1984, after being treated for the purposes of washing and preserving the shape of the garments, the object was kept in the Temple Museum of Pyochungsa, as their holding institution. However, regular inspection conducted by the Cultural Heritage Administration in 2013 determined the need for a re-treatment. The Geumran-gasa had been originally made with 25 strips, but it had been separated into two parts and many pieces were lost. A part of the collar in the Jangsam was lost as well. Therefore, both relics needed to be restored. The re-treatment process involved pre-investigation, washing, reinforcement fabric dyeing, restoration, and fumigation. In particular, we focused on reinforcing the damaged parts and restoring the missing parts by applying advanced materials and methods in order to restore the original form as much as possible. This conservation is the result of the re-treatment of the cultural properties by replacing the old material used in past treatments and applying advanced methods under the basic principle of reversibility in conservation treatment.

Comparative Analysis of Dragon Patterns Found in Contemporary Fashion between Korea and Japan (한국과 일본의 현대복식에 나타난 용양의 비교분석)

  • 남미현
    • Journal of the Korea Fashion and Costume Design Association
    • /
    • v.3 no.1
    • /
    • pp.57-76
    • /
    • 2001
  • This study was intended to make a comparative analysis of the plastic features of Korean and Japanese dragon patterns found in the process of recreating traditions in comtemporary fashion based on the investigation into the style of expression in relation to the origin, formative evolution, symbolism and traditional costume of the dragon. The form of the dragon has evolved with some similarity and peculiarity between both countries and been changed into many kinds and diverse forms such as the humorous dragon pattern of the Yi Dynasty and the simplified and designed dragon pattern symbolizing the Japanese family crest and the like, Its symbolism has lasted in terms of the sacrificial object, royal power, good omen, Buddhist guardian and the like. There is a difference in the aesthetic sense due to the different traditions and cultural background between Korea and Japan, and the dragon pattern found in the process of recreating the tradition in comtemporary fashion manifested itself as the peculiar aspect. An attempt was made to make a comparative analysis of the dragon pattern found in comtemporary fashion between Korea and Japan. The following results were obtained: First, the commonality between both countries was to make a contemporary expression of the dragon pattern, which was expressed in a realistic form because of a traditionally inherent strong image of the dragon. On the other hand, the designed dragon pattern rarely found expression. It can be said that carefully treating the dragon pattern is attributed to the Oriental thinking like this. Second, Korean people have arranged one or more simplified dragon patterns taking on a form of the coiling dragon in the composition of the scattered point and made a comtemporary expression of them by the contrast of black and white shading in Korea. And the humorous form of the dragon pattern manifested itself in the Yi Dynasty. On the other hand, the case of printing the dragon pattern in the black dragon sword of all over the Kabuki costume in a pictorial composition has frequently appeared in Japan. And Japanese people have expressed its lightness and briskness rather than the dignity and strength that the dragon pattern gives with the use of strong color tones and new materials.

  • PDF

The Costumes of 18th Century Joseon Dynasty from Lee Ok's Writings (이옥(李鈺)의 글에 나타난 18세기 조선시대 복식)

  • Choi, Ji-Hee;Hong, Na-Young
    • Journal of the Korean Society of Costume
    • /
    • v.63 no.5
    • /
    • pp.18-34
    • /
    • 2013
  • This paper examines the costumes of 18th century Joseon dynasty that appears in the writings of Lee Ok(李鈺, 1760~1815). The main characteristics that can be inferred about the clothing from his writings are as follows. 1) It suppose that the color of first grade(一品) official uniform was purple. The popular color for the bride's ceremonial dress was red. 2) It was likely that only bridesmaids or married women were allowed to wear Jokduri(ceremonial coronet). 3) White clothes were only preferred in Yeongnam-udo, whereas other regions mainly wore blue, which differs from the national preference for white clothes that was prevalent in the end of the Joseon dynasty. 4) Once cotton was harvested, it only took 5 days to convert it into cotton cloth and be sold on the market. Cotton cloth was one of the most important products during the latter half of the Joseon dynasty. It was common practice in markets to sell expensive costume materials as counterfeits or fungible goods with the intent to cheat. 5) The buddhist monk's hat is various that short cylinder form(短桶帽) and jade or gold headband button(玉圈 金圈) attached shape, etc. Consequently, Lee Ok's writing is a suitable reference for researching Joseon dynasty clothing, since it includes detailed and various descriptions of everyday clothing worn by strict noblemen, which is difficult to find elsewhere.

A Study on the Changes of the Five-Class Mourning Costume-System in the Koryo Dynasty and the Early Years of the Chosun Dynasty (고려시대와 조선초기 오복제도 변화에 관한 연구)

  • Chon, Hea-Sook;Kwon, Lee-Soon
    • Fashion & Textile Research Journal
    • /
    • v.6 no.2
    • /
    • pp.144-152
    • /
    • 2004
  • In this study, the settlement of this etiquette book and the five-class mourning-costume system throughout two dynasties is examined and analyzed.; According to the Chosun dynasty's efforts to practice Chu-Ja-Ga-Rye(朱子家禮, Chu Hsi's Book of Family Rituals) through legal intensification and enlightenment policies, the book's teachings had a general effect on society at large. As a result, the family system and funeral rites turned Confucian from a Shaman-Buddhist mixture. As the Confucian order was strengthened to highlight the authority of the male family head, the funeral rituals were based on Chu Hsi's Book of Family Rituals. So, the 100-day funeral of Koryo turned into the 3-year funeral in the Chosun dynasty. Also, the main and father's lines were valued, while the mother's and wife's lines were neglected. Even though there was no great difference of status or place between males and females in the Koryo dynasty, the settlement of Chu-Ja-Ga-Rye brought about the drop of women's status as they gradually began to be dependent on men.

A Study on the Expression of Clothing and Textiles Recorded in $\mathbb{\ulcorner}$Eigamonokatary(영화물언)$\mathbb{\lrcorner}$ -Focus on Colors and Dyeing- ($\mathbb{\ulcorner}$영화물언$\mathbb{\lrcorner}$에 나타난 복식자료 연구 -색채와 염색을 중심으로-)

  • 문광희
    • Journal of the Korean Society of Costume
    • /
    • v.43
    • /
    • pp.97-108
    • /
    • 1999
  • This paper is a study on the expression of Clothing and Textiles recorded in $\boxDr$Eigamonokatary$\boxUl$ focus on Color and Dying. $\boxDr$Eigamonokatary$\boxUl$is a novel described the life style of Royal Court from 883 till 1107. The discoveries of this paper were as follows. 1. The materials of colors and dyeing which are described in this book reflect the features of the age well. We can assume that the point of its chic might rest on colors and dyeing than design or pattern. 2. Sine they enjoyed wearing lots of clothes which are in the same design but in different colors with the underwear. When color coordinate was fashioned we call them "Kasanenoirome". This type of dressing was in vogue in the age of Heian when there were several devices of showing chic in dressing. 3. The color of clothes at that time might represent one's official position the black the highest class following the purple the red and the blue or green. The black color was made from the purple or blue. The Japanese Emperor would wear reddish yellow or blue clothes according to the nature of his office work. 4. Some of Japanese fashion might be influenced by Korean styles in the respects of coordinating colors and adjusting Buddhist fashion etc. It is required that the turther studies of comparing Korean fashion styles with Japanese ones should be deepened. deepened.

  • PDF

A Study of People's Lives and Traditional Costumes in Goryeo Dynasty (고려시대 사람들의 삶과 전통의상에 대한 고찰)

  • Choi Kyu-Seong
    • The Research Journal of the Costume Culture
    • /
    • v.12 no.6 s.53
    • /
    • pp.1060-1069
    • /
    • 2004
  • We can study and judge the costumes of the Three Kingdom period through an ancient tomb murals and various burial mound(clay) figures, however, it is quite difficult to search for costumes of the Goryeo period ($960{\sim}1392$), because dresses from this era were rarely found, related antiquities are limited and hard to survive. This is the reason why people say that the Goryeo Dynasty is the period of undiscovered era for its history of costumes in Korea. Fortunately, these days, there are various kinds of buddhist statues discovered with its burial accessories such as costumes and dyed fabrics of the Goryeo era. Through these, we can glimpse through the Goryeo cloths and develop our researches on this field. In addition, a man called Seo Geung(서긍, the Chinese scholar Xu Jing) wrote a book in the 12th century about peoples lives in Goryeo and in this book, there are few documents about the people's costumes which help us to understand the period's traditional dresses. In this paper, we will look for the traditional costumes which were formed and developed through people's lives in Goryeo, using remains from various burial accessories in buddhist statues as well as the documents related to the costumes written in ${\ll}$Goryeosa 고려사${\gg}$. Moreover, costumes of a period usually developed and influenced by the atmosphere of people's lives both economically and mentally, therefore, in this study, we will especially focus on the dresses of the bureaucratic officials and their wives, who led comfortable lives and latitude of mind. Through the records, like Silla, Goryeo exported Sehjeo(세저) and Sehjoongmapo(세중마포) to China. And we found out that Silla's skillful weaving techniques of hemp and ramie cloths were succeeded to Goryeo. According to above facts, Goryeo people made clothes with various kinds of fabrics such as, different sorts of silks, ramie, hemp cloths and cottons. They also have very skillful manufacturing techniques for certain textiles. Their official robes were generally influenced by Tang and Song Dynasty, but, like ordinary people, we found out that the government officials also wore baji(pants) and a jeogor(jacket), which were traditional costumes since the Unified Silla Kingdom with various coats. Especially, women's costumes such as jeoksam(unlined summer jacket) and hansam(한삼), which are sort of jeogori(jacket), baji(pants) and chima(skirts) were made of various kinds of silks and ramie cloths, that were generated from the Goguryeo Kingdom, with jikryeongpo(a long jacket and striped skirt).

  • PDF

An Analysis on Characteristics of Ancient Indonesian Textiles (I) - Focus on Period, Religion, Region, and Color of the 'Sacred Cloths' -

  • Langi, Kezia-Clarissa;Park, Shinmi
    • Journal of the Korean Society of Costume
    • /
    • v.66 no.6
    • /
    • pp.67-78
    • /
    • 2016
  • Research on ancient Indonesian 'sacred cloths' is essential since it shows a different perspective into Indonesian identity. Based on its function, the 'sacred cloths' are either made as a medium for religious ceremonies or as a medium for the living and the dead. The consuetude of preparing and creating the 'sacred cloths' are done to achieve the finest 'sacred cloths' worthy to be presented to God. The research aims to analyze the characteristics of ancient Indonesian textiles and to focus on the 'sacred cloths.' The research is divided into two parts, and this paper is the first part. The paper analyzes the characteristics of ancient Indonesian textiles by focusing on the period, religion, region, and color of the 'sacred cloths.' The subsequent research analyzes the characteristics of ancient Indonesian textiles by focusing on the techniques and the patterns of the 'sacred cloths.' In this first part of the main research, the analysis reveals that animism developed in various ways in Indonesia from 500 BC to AD 1800. It was also as kingdoms of Buddhist, Hinduism, and Islam. The changes of religion may differ according to its region. Indonesian regions are divided into six big regions that produce textiles. These islands are Sumatra, Borneo, Java, Celebes, Nusa Tenggara, and Bali. By space and time, the colors of Indonesian textiles represent the ideology of one religion. Indonesia produces primary colors of red, yellow, and blue(RYB). The colors are produced by extracting leaves of Indigo, Indian Mulberry root shell, Sappanwood's branches, Candlenut fruit, Turmeric root, and Mangosteen rind. Indonesia is a religious country, therefore the meaning of creating each 'sacred cloth' shows piety of the maker and the wearer.

Discussion on the Background of the Baekeuihosang Phenomenon in Korea - Focusing on Baekeuigo written by Yoo, Changseon - (한국에서 백의호상(白衣好尙) 현상이 고착된 배경에 관한 논의 - 유창선(劉昌宣)의 백의고(白衣考)를 중심으로 -)

  • Seo, Bong-Ha
    • Journal of the Korean Society of Costume
    • /
    • v.64 no.1
    • /
    • pp.152-164
    • /
    • 2014
  • Korean people have revered the white color and enjoyed wearing white clothes. Various kinds of white clothes have been worn by the Korean people, ranging from everyday wear(便服), and scholar's robe(深衣) for the upper class, to religious costumes like Buddhist monk's robe(僧服), shaman costumes(巫服) and costumes for ancestral rites(祭服), or mourning(喪服). There have been many differing opinions by historians regarding the background of this Baekeuihosang(白衣好尙, the preference for white clothing) tradition and even now, it is frequently being discussed. This study aims to consider and discuss the background of this Baekeuihosang tradition, focusing on Chang-seon Yoo's Baekeuigo(白衣考, the consideration of white clothing), which was published in Dong-A Ilbo in 1934. The purposes of studying literature such as the Baekeuigo is to analyze the arguments on the origin of Baekeuihosang, to analyze Chang-seon Yoo's claim of its origin, and to discuss the culture of Baekeuihosang. Chang-seon Yoo claimed that the existing discussions on the background of Baekeuihosang based on the lack of dyes, or undeveloped technique, economic privation and national control strayed from historical facts, according to literature review. It is not worth discussing the farfetched arguments such as the use of costumes for ancestral rites as everyday wears, or the nation of sorrow. Baekeuihosang tradition mostly originated from the effects of many religions and the taste for innocence, or naturalness. White clothes were infused with the sorrow and emotion of Korean people and were also worn to show resistance to foreign power as symbols of ethnicity. Therefore, there should be a new view of the discussion of white clothes and Korean aesthetic sense, away from the logic distorted by the Japanese colonial view of history.