• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.1-13
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• 2002

This paper investigated the costumes of young girl dancers in Yon wha dae moo(연화대무: Lotus Stage dance) which were documented on the Ak-hak-guae-bum(악학궤범: Protocol of music) and the Jin-yeon-eui-guae(진연의궤: Archives of Royal Feast). The fashion of the costumes can be changed into three phases, based mainly on the changes of Hap-rip(합립: silk hat), Dan-eui(단의: long jacket) and Sang(상: apron type skirt). In the first phase the costume consisted of Hap-rip, round neck-line Dan-eui and tiered skirt decorated with pleat and Yu-so(유소: decorated cords). In the second phase. it consisted of Hap-rip, v-shape neck-line Dan-eui and skirt without pleat. In the third phase, it consisted of Yeon-wha-gwan(연화관: Lotus shape cap), round neck-line Dan-eui of later era and skirt with pleat and Yu-so. Yon-wha-dae dance appears to be adopted from Ja-ji-mu( 자지무: chinese dance) that originated in West and Central Asia. In both dances. young girl dancers danced mainly jump and spin. The costume of round neck-line Dan-eui seems to have been affected by the fashion in Dang Dynasty when young girls loved to wear Dan-ryung(단령: male coat with round neckline). And it satisfied the need of mobility for the dance which was Performed mainly with jump.

• Journal of the Korean Society of Costume
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• v.53 no.4
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• pp.17-29
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• 2003

Long Sleeve Costume is often seen not only in ancient China but also in various neighboring places throughout the time. Costumes show the societies cultural preferences and values at that time, and Long Sleeve Costume is no exception. In my research, 1 focused on the time period from Han Dynasty to Tang dynasty in ancient China. During Han dynasty, Shenyl style robe(심의형 포) was widely worn, and it shows very little foreign cultural influence. For the period of Wei·Jin Southern and Northern Dynasties, foreign aspects of costume started to show up Possibly due to the influence of Buddhism and influx of foreign tribes. For instance, it is not too difficult to find hufu (호복) as well as Shenyl style robe, and it appears this Wei Jin Southern and Northern Dynasties may have been a transitional period of accommodating two cultures without complete merger. Now, when it comes to Tang dynasty, we observe a creation of new cultural form in costume after adopting exotic culture. Because Sh ny style robe. often observed for a long time in Chinese history, disappeared, and tuanling(단영) and fanling(번영) became the main stream in their costume style in Tang dynasty.

• Journal of the Korean Society of Costume
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• v.31
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• pp.17-31
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• 1997

The Heian Period(794-1192) was the period when luxury and elegance flourished. Gorgeous colors were adopted for the costumes and an el-egant assortment of colors prevailed. Representatiove of such costumes is kasane-no-irome. The world Kasane-no-irome originally came from two colors on both sides of one of the japanese kimonos called Uchiki. In later times it turned to indicate the combination ef-fect of colors of several Uchiki's worn in layers one over the other. This paper describes in de-tail the kasane-no-irome in both meanings. In so doing I distinguish two different kinds of kasane-no-irome using a Chinese character for the formed and for the latter though both are pronounced Kasane in the Japanese language. Part one of this paper which concerns the color combinations of presents typical 148 samples through reproduced dyeing clothes by Matumoto. Part two describes the color com-bination of which was so called Junihitoe. It presents typical 41 samples from reproduced dyeing clothes by Matumoto. The purpose of this study was to investigate the characteristics of color distribution and the structure of color combination in Kasane-no-irome. Therefore we obtained the following results in Kasane-no-irome. 1. The color combination of Kasane-no-irome came from the natural color harmony there-fore the names of kasane-no-irome which adopt the names of flowers and leaves of the foure seasons. Accordingly the seasons for wearing them are fixed. 2. In the hue the most frequent appearance was green. And in the tone the most frequent apperance was moderate. 3. In the color combination the most fre-quent type were monochromatic combination and contrast combination.

• Korean Journal of Human Ecology
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• v.6 no.1
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• pp.97-109
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• 1997

Sean means a narrow cloth added to the edge of costume or cushion. At the beginning, Seon was originated to prevent from fraying warp of cloth or wearing out of cloth. However, with the progress of clothing culture, it is used to satisfy the human desire of decoration and enhance the function of costume. The Seon appeared on costumes of Ming dynasty was simple compared to that of the period preceeding it. The position of Seon was mostly at neckline, end of sleeves and hemline. The width of Seon also was quite monotonous and lacks of varieties. The patterns of Seon were limited to ax, cloud and dragon and cloud and chinese phoenix. And the colors used were also limited to four colors, namely Blue, Red Crimson and Black. In Ming dynasty, the same colors of Seon as those of the costume were more preferably used, while different colors of Seon were used in the previous era. The reason why Seon in Ming dynasty show simple design and use the same colors as those of the costume was due to Ming dynasty's desire to represent and to enhance her castic political structure. The need for class distinction was expressed through the pattern rather than the colors of the costumes themselves. While, in Ming dynasty, Bo(補) which was attached to the breast and the shoulders was used to represent the social class because it could be easily distinguished. In Ming dynasty, to stress Bo and to make Seon less conspicuous, Seon became simple and the colors of Seon were same as those of the costumes avoiding strong contrast in style and colors.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.136-150
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• 2015

The purpose of this thesis is to elucidate the exchange between the East and the West during the 17th century through analyzing the oriental influences described in paintings in Delft school, a trade port of East India Company. The scope of this study focused on the 37 pieces of works by Johannes Vermeer and 31 pieces of the paintings by Pieter de Hooch, which are all the existing work, as analysis targets. The resources of this study were from previous papers about the history of costumes, paintings and culture, Internet sources and other qualitatively analyzed articles. The items that the study looked into were Delft porcelains and Delft tiles, Turkey carpets, costumes and accessories pearl earrings and headdresses. The study looked into oriental factors observed in each of these items, and analyzed them. In terms of oriental factors that are frequently observed in paintings, porcelains (100%), Deft tiles (100%), pearl earrings (100%) and (most) carpets (92.3%) turned out to have oriental nature, but this was not the case with head dresses (7.7%) and clothing (0.3%). These results happen to coincide with the previous investigation in that the oriental factor was reflected in the culture first, while the effects on costumes significantly lagged behind. This progress in cultural exchange can be seen through the noted use of Chinoiserie, a technique that is representative of the Chinese culture, in the 18th century. Through Japonism, the influence of Japanese culture into Europe was introduced, in detail, in 19th century. These results suggest that there are sufficient amount of sources that could be used to study the effect of orientalism to the Western culture. This study intends to look at how the oriental culture affected those of Europe by researching the Delft school of Netherlands during the 17th century.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.185-205
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• 2015

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yi tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery or $appliqu{\acute{e}}$ pattern have a high artistic value in that its shapes are diverse, splendid and each one has its own peculiar elegance. As for the research method, I examined the Yi tribe's history, culture, traditional costumes and patterns through related books, research papers and inter web sites. As for the result, the Yi tribe's costumes consisted of a jacket, trousers or a skirt, an apron and a belt. Although the favorite color of the costume is black color, there are splendid embroidery or $appliqu{\acute{e}}$ decorations with the colors of red, yellow, green and purple on the chest or shoulder part of a jacket, the adjusting lines, cuffs or a part of a trousers and aprons. Patterns in their traditional clothing also show details that depict traditional cultural ideas that have long been formed in various fields, such as aesthetics, religion, philosophy, and customs. Moreover, most patterns displayed in their traditional clothing contain nature motifs and represent unique and beautiful designs; some patterns are even reminiscent of abstract paintings by modern artists. In conclusion, the traditional patterns of Chinese ethnic minorities reflect the values and notions of these races as well as decorative magnificence and a unique spiritual image. In other words, traditional patterns indicate the spiritual depth or symbolic stories beyond mere formative beauty.

• Cross-Cultural Studies
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• v.22
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• pp.223-277
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• 2011

Tan Yuanjie(譚元杰) of CHINA COSTUME ART OF PEKING OPERA("中國京劇服裝圖譜") is 'Foreword' attention from the bar 'Formalism'. A note is makeup system from ever performances here, 'what kind of adaptation must be a corresponding type of costume should be worn.' This stance to 'type of person's identity and faced the scene correlated' with the actual performance tradition plays out is going and, while here the rules to capture the opera's on the character of 'identity and the circumstances under clothing' is defined. This position discussed previously 'Formalism' in line with the will he perform, and looks to meet the elements of production. This basic stance is clean up, while 'Old Beijing Opera costumes costumes taxonomy largely' literary costume' and 'militant outfit' into two groups divided over throughout steamroll surgery, because surely need to have a more systematic classification. The classification system was established as 'Part 1. Mang, Part 2. Pi, Part 3. Xi, Part 4. Kao, Part 5. YI'. In addition to these classification systems, as well as the aforementioned 'object theory' Given the symbolic significance of the capacity to keep in mind is necessary. Costumes conduct, character, situation, atmosphere and so the transport of charged symbols here, a target symbol of the system is the projection of water. This costume is detrimental to the mall for the positionsay, but I kept in mind damwongeolyi internationalization of Chinese culture. when you see the view from the perspective of semiotic systems for the sign, that the theater is necessary to complement. In this paper, 'Yi(衣)' costume on the corresponding point of the target compared to the China Culture Department of Theatre and Folklore methodology ran off and sprinting was to lay the groundwork for research.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.82-96
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• 2009

The purpose of this study is to present the basic approach of producing the luxury fashion brands containing of the Korean traditional traits on the basis of traditional transformation with the modern concept, taking the 'Vivienne Tam' 2000's collections. This study has focused on its transformation of the traditional one of China, and made this as the subject of investigation. It's design characteristic could be defined as "modern interpretations of China chic", and it would be divided into two groups. The ingenious mixture of Chinese tradition into the modern chic could be concluded like these. The external characteristics is categorized in the three ways (1) the aesthetic application of the Chinese traditional patterns(dragon, water waves, peony, Japanese apricot flower, bamboo, bats, Chinese characters etc.), (2)the modern application of Chinese traditional costume details(front opening of Chipao, mandarin collar and knot buttons) and (3)the modernization of Chinese traditional technique(knotting, embroidery, beading and paper cutting). To deal with the internal characteristics, (1)the aesthetic mixture of East and West, (2)the formative expressions of the traditional view on the universe and religion are remarkable. The Chinese embodiment and the view of the universe and religion was integrated into the patterns of dragon, water waves, clouds, fire, woods, and metals. In order to afford the creative designer capable of encompassing the East and West, the teaching about the Korean tradition along with the technical and practical aspect of fashion is most important, while encouraging the professional designer to make a sophisticated ones which are attributed to the Korean tradition, and thereby come to be attractive to the world customer. The study about the Korean costumes, traditional colors, the symbolic meaning of the traditional patterns, cuttings, compositions, extending to the various kinds of myths, songs, paintings and crafts are essential for the Korean designer brand to be the global luxury brands.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.1
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• pp.49-62
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• 1993

This study intends to find out the correspondence of the costumes of the terracotta warriors at the tomb of Qin Shi Huang to the dress of nomadic people. The Chinese took the dress of nomadic people into their costumes so that they might practise shooting arrows from horse back in the Age Of Wars. The terracotta warriors at the tomb of Qin Sin Huang provide us with substantial evidence that Qin Dynasty inherited the system of wearing the dress of nomadic people from Zhao. Figures of calvarys wear the jackets of nomadic people, but figures of other warriors wear Han jackets. This means that the aim of taking the dress of nomadic people is to be convenient in practising shooting arrows from horse back. Nomadic people adjusted their jackets to left, because they road on a horse from left for being the tunga only on the left. But calvarys adjusted their jackets to right. In those days, China didn't have a tunga. So there was no necessity for riding from left. And Chinese were accustomed to adjusted their jackets to right. This is the reason why calvarys adjusted their jackets to right, though they wear the dress of nomadic people. Soldiers wear trousers. Some have puttee, some have their leg bounds. All the soldiers tightened their coats or jackets with belts which were inhereted from nomadic people. They wear either shoes or short boots. The figures are classified according to rank, espicially in their hats and armours. General wears a cap adorned with pheasant' feathers, officer wears an unadorned cap, and men are hatless or in turbans. Calvary's headgear looks like a p'ing-chin-tse which was correspondence to the headgear of nomadic people. Soldiers wear armours according to duty, and armours are differentiated by rank. From the state of terracotta warriors, I think that the warriors were made from BC 246 to BC 210 which is equal to the date of making the tomb of Qin Shi Huang. Then the date of making the terracotta warriors was between 60 and 100 years since the king Wu Ling of the state of Zhao took the dress of nomadic people.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.493-511
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• 2000

The objective of this study was to trace and to examine costume terminologies recorded in Pak Tong Sa Eun Hae. Names of costumes and costume related terms were collected from P마 Tong Sa Eun Hae. Books and various references from China and Korea were used for this study. Costume terms were examined from the Chinese and Korean. Classifications of costume terminologies from the data were made for the analysis : man and woman's costume, accessories, names of fabrics, colors, and decorative motifs used, professional costume, special occasion dresses and so on. Conclusions and summary of results and findings can be summerized as follows : It revealed that manes of man's costume and other costume related words were a large in number compared with those of woman. Only one name of woman's costume appeared in the text : It was kind of long vests. However, names of accessories such as a hat, a hat decorated with jewels and phoenix design, a hair pin, earings, bracelets, finger rings, a soft belt were shown in the text. While many costume names of man included in the text were of garments such as a kind of long vest, a short vest, an outer robe, a kind of long coat with pleated skirt, leg coverings, outer jacket and so on. Also names of undergarments such as an under skirt, a belly covering, and drawers were found in the text. Fabric names were mostly silks such as brocade, twill, sarcenet, damasks and plain silks. Blue was the most widely appeared fabric color in the text and red was the second. Design motifs of fabric design were of dragon, flowers, eight precious things, clouds which were characteristic design motifs of the Chinese. It was found that some of the Chinese costume terminologies were translated into the Korean although many Chinese costume terms were used as the original Chinese.