• Journal of the Korean Society of Costume
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• v.23
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• pp.5-23
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• 1994

This research has been made through analyzing clothes of human dresses and ornaments appeared in the Buddhist pictures which were drawn at the times of the koryo Dynasty. Clothes of the Korea Dynasty could be analyzed as below : First, as for Turban (Doogun), common people used Ogun, Doogun, Byunsangmo and Chaek. For clothes, the style of the era of the ear of the Three-Dynasty. That is , they wore long shirts with narrow sleeves and narrow trousers and skirts. However, around the years of 1320, shirts had no more belt but became to show a kind of ribbon which is called as Gorum , and length of shirts was a bit shortened between hip and waist lines. Second, as for officials clothes, a kind of Rhangkan was used through the Dynasty but after the years of 1300, Wonryukwan was also used. In the clothes, Bangshimkikryung was used and the royals wore full-dress attire which looks like a long gown. Under the full-dress , we can see two different which seems to be a kind of present under-water. Third, in public clothes, same type of Danryung. Holl, belt and shoes were used throughout the Korea Dynasty. In addition Line (Yeon) was remarkably used skirt was dressed under Danryung by middle of the Dynasty the skirt was replaced with trousers. For Bokdoo, Jeonkak bokdoo was mostly used at the beginning of the Dynasty , but in the end of the Dynaty a lowr-flap bokdoo was in the main current. Meanwhile , we can see that the Korea Dynasty had its own in dependence in the clothes although the Dynasty was much affected by the Chines Song Dynasty System. We can hardly find a Mogrian cloethes style in the Korea-Dynasty clothes. Fourth, in Queen's clothes, banbi and pyo were used and sleeves were decorated with birds feather throughout the Dynasty. Lastly , famer's clothes are quite similar to those of the Chinese Song and won Dynasties and a decorative line was used in official clothes. These facts make us have a presumption of our Dongii culture might be conveyed to the Chinese in the ancient times but much more research is needed to clarify.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.87-101
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• 2008

The purpose of this study is to identity the representative flower patterns in the Joseon Dynasty and investigate their chronological transitions. In the early Joseon Dynasty (i.e. 16th century), lotus patterns were very popular. Often lotus patterns were twisted around by ivy-leaves or decorated with treasures pattern in the margin. In the mid Joseon Dynasty (i.e. from 17th to mid 18th century), however, lotus patterns evolved from the typical lotus and ivy pattern and diversified into four types. In the 19th century, lotus pattern almost disappeared from the textiles of everyday dresses and were only found in the textiles of formal dresses or in special cases as in the cover pages of Buddhist scriptures. Poeny patterns was rarely used in textiles of 16th century, presumably because of the huge popularity of the lotus pattern. However, suddenly in the 17th century, Poeny patterns appeared quite frequently. There were 3 types of Poeny patterns. Poeny patterns became more popular over the years and it finally became a primary motive in textiles patterns for 100 years starting in the late 19th century. There were two types of Poeny patterns : one was realistic and true to life even in sizes, the other was more symbolic. Textile patterns combining four kinds of flowers started to appear from the late Koryo Dynasty but Flower patterns representing four seasons with distinct shapes appeared only in the 17th century. They could be categorized into three types. In the late 18th century, Flower patterns representing four seasons no longer appears in textile patterns, presumably due to a new preference for lucky omen over natural motives.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.89-108
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• 2016

The purpose of this study is not only to trace the examples of 'Chesanja' from the texts and artifacts, but also to restore the terminology of the lost traditional Joseon embroidery technique. 'Chesanja' came on Mongolia and Yuan period affected embroidery techniques of the neighboring countries. Therefore, this study will focus on investigate the process of changing 'Chesanja' into Guya(Goya) through ${\ll}Barktonsa{\gg}$ the foreign language transcriptions of the Chosun dynasty, and examine the generation, fashion, and destruction of this technique with the social technical usage. Around the 16th century of the Joseon Dynasty, 'Chesanja' had been actively used as a decorative techniques to dairy products as well as a Buddhist memorial goods embroidered. Accor- dingly, in the "Beonnyeok-Baktongsa"(1515) appeared together written records with 'Chesanja' 'Gwiyeo[귀여]' the Eonhae(Korean annotation) only had emerged in the Joseon Dynasty. It was still a technique to decorate the edges of royal pillow in the mid-17th century. And we have checked from the text "Baktongsaeonhae"(1677) also. Despite this by the mid-18th century, the term in "Baktongsa-sinseok"(1765) and "Baktongsa-sinseok-eonhae"(1765) had disappeared. This phenomenon suggests the possibility that the production and utilization of 'Chesanja' required the sophisticated process for the ruling class had been declined with the custom of embroidery based on the gradation by colorful threads as the preferred technique. Therefore, 'Chesanja' and 'Gwiyeo'[귀여] disappeared from the records but they can be found in the artifacts of the royal family of 19th century. So Chesanja is calls Guya(Goya) and exists as unique technic only in the royal family.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.7
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• pp.1215-1226
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• 1997

Textiles in Bali have traditionally played a vital role in the social economic and religious life of the people. Textiles defined the status of the individual in term of both costume and wealth. Use of the various textiles is in Balinese tradition dictated primarily by rules of the Hindu-Balinese faith. Cloths and clothing are employed in worship of God and the ancestors. Gold songket patterned textiles are perceived as symbol of wealth and prestige and provide a fitting display of affluence at important cerenlonial events. The specialized pieces of clothing, temple banners and hangings are unique to each tribal group ranging from weft -patterned textiles in Bali. The impact of Indian ideas and techniques was important in the field of textiles, and many of the characteristics in Bali's fabric design derived from Hindu-Buddhist mythology that has furnished subject-matter for songket textile art. The purpose of this study is to examine the background of Balinese culture and to define the characteristics of Hindu-Balinese textiles. The songket textile design also analyzes by examing the techniques of songket weaving and the meaning of design, pattern, and motif. Many design and motifs convey important messages significant only to those familiar with the particular social religious principle of people who have produced them. It is only by seeing cloths in their cultural context that we can begin to understand their true value and meaning.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.1 s.149
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• pp.94-105
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• 2006

This study is focused on the man's costumes of Sadangpae(the troupe of performers) shown in Gamrotaenghwa (감로탱화) during the late Chosun dynasty. Originally Gamrotaenghwa was used as a painting for a Buddhist praying ceremony, 또Young-ga-cheon-do-je(영가천도제). It shows us the lives of the commoners in those days. Gamrotaenghwa reflects the changes of costume style in the late Chosun period. The early styles of po(포, coat) for male performers in the 17th century were changeui(창의) and dopo(도포), which had the front panels(seop) overlapped deeply and sleeves that got wider as time passed. After the 18th century, Male performers wore a simpler coat such as sochangeui(소창의), which had narrow sleeves and long slits on the both sides. Especially the coats of acrobats were fastened on the center front with buttons. Heuklip(흑립: black hat), somoja(소모자: small cap) and jeonlip(전립: wool hat) were used as hats for the male performers. Originally, heuklip was the hat that represented the noble status: yangban(양반). However, it was popularized among the commoners in the late Chosun period. As time passed on, the heuklip became more popular and its shape also changed. Somoja and jeonlip were shown throughout the entire Gamrotaenghwa. Unlike heuklip, those were common hats for Sadangpae. The costumes of entertainers shown in Gamrotaenghwa were very similar to those of the commoners. However, it seems that there were some differences of the costumes depending on the roles they performed.

• Journal of the Korean Society of Costume
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• v.12
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• pp.9-23
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• 1988

This study is on the costumes for Korean traditional play, Nong-ak(farm music), and intends to analyze their aesthetic features, laying emphasis on Pilbong Nong-ak, Im sil, Chollanam-do. About its origin there are many kinds of theories; for example, the theory of hoping stability, the theory of it being related with Buddhism, the theory of martial music, etc. Shamanic, Buddhist, and martical fators that support these theories are expressed through flags, bells, drums, Deograe (half-coats), Cheonrips (sang-mo, felf hats), go-kkals(peaked hats), colored lines called 'ga-sa', which are used in Nong-ak. The characteristic of the costumes used in Pilbong Nong-ak is that it keeps its conservativeness and the costumes of its members are various and splendid. For example, leader groups' black half coats, Changbu's and Hwa-dong's red and bule over coats are remarkable. Particpants wear gok-kal or cheonrip, trousers and half coats which are the basic costumes of Korean Hanbok, and wear blak half coats or blue vests and put blue, red, and yellow lines around them. The colors and knotting methods of those lines in this region are the same with those of chollawoo-do and Kyongi province, but different form those of Kongwon and Kyong-sang province using green, red, and yellow colors. This comparison of colors shows each region's preference of peculiar colors and those colors coincide with colors used in flags. The research on the aesthetic characteristics of Nong-ak clothes through each region's clothes tells us that these can be linear clothes which have expressiveness as stage clothes used in Madangori, the play which is performed in the field, and modern spatial formativeness. Those characteristics are as follows; 1. The expressions of a rhythmical and daring round line by turning a long line of sang-mo. 2. Various rhythms according to the attaching methods. 3. The expressions of thick, simple, and daring color lines. 4. Natural beauty of materials. 5. The popular simplicity and non-technicality 6. The beauty of five-direction colors, Oriental ideal colors Consequently in this study our national consciousness of beauty are examined through clothes. It is suggested that the aesthetic characteristics of Nong-ak clothes and ornaments should be effectively expressed, for this purpose. interests in participants' clothes should be increased in order to prevent the confusion of each region's features. Also it is necessary to improve color lines, their length, width, and knotting methods, and beautify instrument. Finally this study intends to bring the reappraisal about the art of Nong-ak clothes and its re-establishment in view of modern aesthetic consciousness.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.6
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• pp.1116-1133
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• 2016

This study examines the historical background of Goryeo and its relationship with Song and Yuan. In addition, it observes the shape of dress styles for the king, queen, officers, maids in waiting, and commoners after classifying them with a focus on the dress style of normal people appearing in Buddhist paintings. This study then investigates structures by tracing Goryeo's unique identity and its characteristic by a comparison and analysis of dressing style elements of Goryeo with Song and Yuan. The results shows that the Song's system was used exclusively for the dress style of the king and government officers of Goryeo after Goryeo's submission period by Yuan. There were no clear appearances of a Mongol style dress but only changes in head styles of cutting hair around the head and twisting the rest in a top down and long method. In addition, Song's style Bokgeon was shown by the king to his lower level officers. This was because the king and his officers of Yuan were in accordance with Song's system in officer's dress, hat and head style, armor, and horseback riding equipment. Second, there is doubt if they inherited a traditional form and style of the dress rather than followed the dress style of Yuan because the shape of Yuan's basic dress style Deel is very similar to the dress shape of early Buyeo people's Po in the $3^{rd}$ to $4^{th}$ centuries. Third, the shape of the Chaksu and Gung-go had been kept as it was in the dress style of ordinary men, and because the shape of the double collar had already appeared in the period of Samguk, which appeared in all classes of Yuan. There is no reason to adopt double collar shape that appeared. The general Pyeonbokpo of the country had to be influenced by Yuan. Forth, the dress style of queen and her maids in waiting were mentioned in documents; however, there was no shape of a dress like Boktag and Deel in the relics, which are the characteristic of Yuan's woman dress style. Fifth, the shape worn national style Yu and Sang had been kept in an ordinary woman's dress style; however, the two style system of high and lower class in Yuan's ordinary woman dress style appeared newly and is considered an influence of Goryeo.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.166-185
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• 2015

Recently, as an enonomic importance of the Eurasian Continent raises, the necessity of east-west connecting ancient transport roads research is increasing. Although domestic research of eastern-western international exchange in the Eurasia is not yet very active, the studies of history, archaeology, art history, folklore, costume history have been advanced steadily. An attention for the exchange through steppe route originated from the interest in Korean folk and Korean culture and the research range is extending to Xiungnu, Kurgan culture as a direct investigation on the remains of Mongolia and Kazakhstan has been achieved constantly. The art history has been leading the research of exchange which is based on desert and oasis. The field research of Iran, Uzbekistan, Azerbaijan, etc progressed in various routes, and the research on diverse topics including Silla's golden culture, transmission of glass, and the Buddhism is improving. Research on the maritime silk road is weaker, compared to other parts. Buddhist and Hindu temples of Southeast Asia attracted some interest to people, but the research should focus on the restoration of sea route and consideration of its meaning. Research of this part is expected to be more activative, as domestic researchers investigate Don Son culture and Sa Huynh culture of Vietnam by themselves. From now on, we should focus on topics that are not directly connected to Korean history, and Korean culture. Because it is also our duty to study and conserve the culture of entire human community.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.113-127
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• 2005

From the ancient times, incense was used for various usages including a means of beauty expression with flavor, a medicine for disease treatment and a device for religious event or ritual. The period of T'ang was the times when cultural and material exchanges with foreign countries were very actively made under the political openness of the Chinese nation. Here the exchanges were made mainly through inland trade, called Silk Road(絲綢之路) and marine trade routes, Incense Road(香料之路). This indicates that incense was one of the main items actively traded at that time. In addition, literatures of the T'ang period show that in the Chinese nation, a wide range of classes from the imperial family to the public used incense for many different purposes. This suggests that the culture of incense was deeply prevailed and very socially significant in T'ang. This study investigated social factors that promoted the incense culture of T'ang and the applications and types of incense widely used in the period of T'ang. First, influential religions and the openness of sex culture were main social factors that made incense culture flourish in the period of T'ang. Above all, two main religions of the Chinese nation, Buddhism and Taoism became secularized under political protection by the imperial family. As Buddhism was popularized, the Buddhist ritual of incense burning made a contribution to making public incense culture. Providing its doctrines of eternal youth and eternal life, Taoism necessarily used incense to form a Taoistic climate. The flourishment of the foresaid religion in T'ang added more fuel to that of incense culture in the Chinese nation. The openness of sex culture brought about the Inauguration of the empress, improvement in female position and free relationships between man and woman. It was accelerated by sexology as a method of eternal youth provided by Taoism. The opened culture also developed the culture of kibang where female entertainers called kinyeo consumed lots of incense for decoration and sexual desire stimulation. These open climates of T'ang society made a great contribution to making incense culture, especially for decoration, prevailed throughout the Chinese nation. Second, types of incense prevailed and widely used in the period of T'ang included olive incense, germander(廣藿香), olibnum(乳香), myrrh Resinoid(沒藥), jia Xiang(甲香), clove(丁香) and Shen xian(沈香), all of which were imported from foreign nations and had various applications. Specifically, olive incense, germander(廣藿香), olibnum(乳香) and myrrh Resinoid(沒藥) were used for religious purposes while, jia Xiang(甲香), clove(丁香) and Shen xian(沈香) for the purposes of religion and decoration. In conclusion, a number of social factors including political, religious and medical purposes and the openness of sex culture set fundamentals on which the culture of incense was extensively developed and established as a social trend in T'ang. In the Chinese nation, incense culture was not just an option for taste, but a part of life style social members needed to know. People of T'ang not only enjoyed incense mainly for purposes of religion, pleasure and make-up, but also had the wisdom to know various effects of incense, curiosity about such new things and the will to imitate and pursue alien culture, resultantly flourishing incense culture. Thus the culture of incense represented many social aspects of T'ang.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.