• 한국의상디자인학회지
• /
• 제23권1호
• /
• pp.71-86
• /
• 2021

The purpose of this study was to compare and analyze the Chinese robe styles of the Paris and Beijing collections from 2014 to 2018 to find the differences between the expressions of European and Chinese designers on the Chinese robe style. The methods of research were a literature review to derive the design analysis items of Chinese robe styles, and a case analysis. The results are as follows. First, both the Paris and Beijing collections showed an increase in use of Chinese robe styles year by year. Second, in the Paris collection, designs using qipao styles from the Republic of China era appeared the most among the robe styles of various Chinese dynasties. Qipao style appeared the most in the Beijing collection too, but the robe styles from the era of Pre-Qin, Qin, Han, Song, Ming, and Qing dynasties appeared more often than in the Paris collection. Third, in the comparison of silhouette type, there were mostly X-type silhouettes in the Paris collection and A-type silhouettes in the Beijing collection. As for neckline and sleeve type, both collections showed stand collars and tube sleeves. Fourth, in color comparison, there were mostly red-based colors in the Paris collection and blue-based colors in the Beijing collection. Fifth, in the comparison of pattern type, there were the mostly plant motif patterns in the Paris collection, and complex patterns in the Beijing collection. In conclusion, it was confirmed that the Chinese robe styles of the Paris Collection expressed a design fused with various styles due to the tendency to respect the diversity of various cultures and of the Beijing Collection emphasized the beauty and ethnicity of traditional Chinese clothing.

• 복식
• /
• 제53권4호
• /
• pp.17-29
• /
• 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.

• 복식
• /
• 제19권
• /
• pp.141-155
• /
• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• 복식
• /
• 제61권2호
• /
• pp.60-71
• /
• 2011

This study set out to examine Hakchangui worn in Joseon around the 18th century and further the relationships between the Chinese Hakchang and Joseon Hakchangui, as well as to figure out spread factors of Hakchangui. The study proceeded as follows: 1)The Hakchangui was examined those appearing in the collections of works and paintings after the 17th century. 2)The Zhuge Liang's Hakchang was researched through Romance of Three Kingdoms, paintings and sculptures. 3)The images of Hakchangui wearers described in literature were investigated to understand the symbolic meanings of Hakchangui in Joseon those days. Those research efforts revealed four findings: 1)In many cases, the Hakchangui worn in Joseon in the 17th and 18th century has side slits, but no back slit. It's both sides of the center front were parallel, not overlapped. 2)Hakchangui was strange to the Joseon people until the end of the 18th century but started to permeate among those who liked classic style. 3)The aspects of Zhuge Liang were standardized in the combination of 'Yungeon, Hakchang, a feather fan and a wagon' in Romance of Three Kingdoms. 4)Zhuge Liang was considered as a symbol of wisdom and loyalty and had an image of a Taoist hermit who transcended the mundane world. The analysis of the research findings led to two following conclusions: 1)ln Joseon the Chinese Hakchang was introduced to people who had exchanges with Chinese or liked classic style in the 17th and 18th century and gradually spread by their advocates. 2)The Hakchangui must have been increasingly worn by more Joseon scholars because they started to borrow the image of Zhuge Liang driven by the popularity of Romance of the Three Kingdoms and the tendency of reinforcing Zhuge Liang's image as a loyal subject by the kings of Joseon.

• 한국의상디자인학회지
• /
• 제25권4호
• /
• pp.107-122
• /
• 2023

This study analyzed the style, dimensions, fabric patterns, colors, and fabrics of a traditional Chinese women's dress from the Zhou Dynasty, and reconstructed it in the form of a virtual garment using 3D CLO. Based on ancient flat image data and three-dimensional portrait data, who wore them, how they were worn, and how they were coordinated was analyzed. In order to analyze the size and pattern of the straight Ju Chines dress, data from the excavation report and the tomb owner's anthropometric measurements were combined to infer the wearing condition and organize the sculptural features. Dimensional analysis was carried out using a well-preserved small-scale woven cotton cloth as a restoration model, and the horizontal and vertical dimensions were reasonably estimated using the shape proportioning method. The analysis of the colors and patterns of the fabrics was based on the colors and patterns of the fabrics excavated from Masan Tomb No. 1 during the Eastern Zhou, Qin, and Han periods. Finally, a virtual model was created using data from the excavation report and the age and height information of the owner of the excavated robe, and the pose and size of the virtual model were determined using 3D CLO. Based on the previous research data, the garment was virtually sewn and simulated. The shape, pressure, and strain of the garment in different postures was also compared. Through the research direction of pattern and 3D restoration, this research maximizes the restoration of Chinese traditional women's dress and presents it in a more intuitive, comprehensive, and vivid way.

• 복식
• /
• 제55권8호
• /
• pp.57-72
• /
• 2005

Mongdueui(蒙頭衣) and mongduri(蒙頭里) in the Joseon dynasty was one of women's robe. The style of Mongdueui was same as Chinese baeja(褙子 $\cdot$ vest) having non-overlapping front opening with collar, This form was conformed through the wonsam excavated baeja from tomb of South Song dynasty. The basic construction was same as Joseon dynasty's except the collar. In the early Joseon dynasty the noble women wore Jangsam(長衫) as an outer wear, the common and lower class women wore Mongdueui, and the queen and royal household we baeja. The court lady wore baeja as well as Mongdueui for funeral ceremony. The style of women's robes was classified into two categories by the literature Byungwajip(甁窩集). The first was the hongjangsam(紅長衫長) in red for noble women. The other was the mongduri for the common lady. Whangchosam the outer wear of Jeongjaeyong(呈才女伶), a professional women entertainer, having non-overlapping front opening with collar, has been examined in the painting. And it had been evolved into the shaman's clothing in the last stage of Joseon dynasty.

• 복식
• /
• 제61권10호
• /
• pp.104-118
• /
• 2011

The purpose of this study is to examine the recent various developments of men's fashion by analyzing how exotic tastes were presented in men's modern fashion from 2001 to 2010. For this purpose, a researcher reviewed relevant studies to identify the styles of exotic tastes that were reflected in men's modern fashion specifically in Chinese, Japanese, Indian, East Asian, American, North American and South American styles. Findings of this study is summarized as follows. Main examples of men's modern fashion were found in Chinese-style apparel such as the magwae, queue, coolie hat and the Mao jacket. The Kimono and the samurai robe, both of which best represent Japanese apparel and the Japanese traditional patterns also had an influence on men's modern fashion Indian style clothing such as dhoti, veshti and lungi which cover the lower body, vajani as loose trousers, kurta of full-over tunic form and turban also had an effect as well. The men's modern fashion is also impacted by Middle Asian styles that includes the thobe, sirwaal, futah, which is sort of a skirt that is long enough to cover the calf and whose front parts overlap each other, turbans and the hempen hood which is fixed with the agal. Exotic elements such as animal skins, body painting, tattoos and head dresses found in African styles can also be found in men's modern fashion. Parts of North American style influence come from the applications of Indians' costume and head dress. The surveyed men's modern fashion of the South America style was represented by the applications of natives' costume and Andean tunic, loincloth and shawl. In all of the exotic styles found in men's modern fashion, historicity, eclecticism, aestheticism and nature-orientation are implied. They are the source of inspirations that promote changes and diversity in men's modern fashion.

• 복식
• /
• 제14권
• /
• pp.63-73
• /
• 1990

The thought of three religious, Confucianism, Buddhism, and Taoism, had been the mainaxis of Korean spirit of the past. This study is centered on Buddhist and Taoist costume. There have been a lot of studies on Korean costume from many viewpoints. However, there have been few approaches to the inner !"ide of it. That is to say, the research on spiritual back-ground or religious correlation has not done yet. And especially, we are wholly lacking the studies on Taoist costume. In this dissertation, I investigate how they had come to wear Buddhist costume and how it trans, on the basis of related documentary records and existing remains. I also inquiry Taoist costume which was worn at Taoist ceremony in our country, with the help of Korean books and documents and of the sources of Packwoonkwan in China. In the case of Topobyunjeung in Korean costume, in particular, we can catch the source of it only after studying the religious side of Taoist costume and Buddhist costume. As revealed in the theory of Topobyunjeung in Ojuyunmoonja-ngsango by Lee, Kyu Kyung, even old masters and great Confucianists could not know whether Topo, the ordinary clothes of the Sadaeboo, originated from Taoist costume or Buddhist costume. There have been many opinions about the origin, but even now it is true that no one has made it clear. Therefore in this dissertatio I demonstrate mainly how Topo and Hakchangeui appeared in Korean costume through Taoist costume. It is said that Taoists, Buddhists, and literary men wore Topo, Chickchul, and Chickshin in Song dynasty of China. Topo was a clerical robe of Taoists and was also an ordinary clothes. Chick-chul was a clerical robe of Buddhists, and Chick-shin was worn by Zen priests in Won dynaty. Over the Po, Buddhist wore a large robe, namely Kasa, and Taoist wore Packhakchang like Wooeui, when they attended at the religious ceremony. And they regarded such manner of dressing as ceremonial full-dress attire. The style of Topo in China was Saryunggyogeo. The is th say that they put the black Yeon along Sajoo, which are Young, Soogoo, Keum, and Keo, and that they wore Sajodae around their waists so as to let the band down in front of them. Our existing type of Topo is that of Chickryung-gyoin. The characteristics of the type are its Koreum hung on the dress, no Yeon along Sajoo, and Soopok at the back of the dress. And when they put on the dress, they wear Saejodae around their waists. These characteristics considered, we can find the source of Topo from the Po of Chickshin among Buddhist costume. Other types of Topo are those that were transformed elegantly according to our national manners and customs in our country. So-called Wooeui in Chiness Taoism is Hakchang. Originally it was made by weaving for of cranes or other feathered birds. Its remarkable feature is the wide sleeves. Later they called such a robe with wide sleeves Hakchang. Our hakchangeui has Yeon along Sajoo and a belt around waist. We can guess that the features of Topo and wide-sleeved Hakchang mingled and turned into Hakchangeui. Or it might also be that Topa worn by Taoist was regarded as Hakchang and Topa which has Yeon along Sajoo was regarded as Hakchangeui in our country. Such type of Hakchang worn by Taoists was well shown in the Buddhist and Taoist paintings among "The Pictures of Hills, Waters, and Folks" in the latter half of the 16th century. In China Hakchang with a belt around waist could not be seen. Comparing our style of Hakchangeui with the Chinese style, we can recognize the former was similar to that of Chinese Topa. From this, we gather that Topa was regarded as Hakchang, Wooeui worn by Taoists, Ascetics and True Men in Korea. Furthermore I also gather that our Hakchangeui, which has Tongjeong, Koreurn and a belt around waist, was a transformed style in our own country. From the above, we can realize that in costume the three religions, Confucianism, Buddhism, and Taoism, cannot be treated separately although they are different each other in the essential thought. We have to recognize that Korean Costume was established under the closely connected correlation among the religions and that it was transfigured and accepted according to the cultural characteristics. This study is significant in that it is the first attempt to understand Korean costume through the religous approach, which has never been made in our Korean costume studies. We are demanded even more wide and profound investigation on the religious side of costume throughout the general field of costume studies.

• 한국의류학회지
• /
• 제19권6호
• /
• pp.933-945
• /
• 1995

The purpose of this study is to examine the current foreign languages of clothing terms which have been misused, clarify the meanings and suggest the unified teams. The results are as follows. First, English and Japanese are great parts of the origins of the clothing terms in foreign languges which have been misused. And next, there were French, German, Portuguese and Spanish via English and Japanese. Especially, the misused foreign languages in styles, materials of clothing are also via English and Japanese. The compound words in Japanese are many parts of them and misused Japanese, Japanese via English, French, German, Dutch, Spanish, Poltuguese, and some terms can not be found their origin. (ex: 색채, 컬러, 카라) In case of the colors of clothing, the terms have the English marking rules and the Japanese pronounciation. And some unified terms are Korean, English, and Chinese letters. (ex: 빨강, 레드, 적색) There are lots of the misused foreign lagusges in sewing terms. On each case, the corresponding words in English and Japanese were suggested to understand easily. The most of the unified words were suggested in Korean. (ex: 하찌사시 $\rightarrow$ 하자시; padding stitch, 팔자뜨기) In clothing construction, there were lots of the misused terms in Japanese and the corrupted terms of Japanese. And so the explains and the unified terms were suggested. (ex: 구세토리, 몸새맞춤, 나찌, 가위집 (내기)) Finally, the origins of terms in western history of costume were clarified and analyzed the meanings : $\circled1$robe, $\circled2$ jacket, gipon, pourpoint, doublet, justaucorps, habit, flock(coat), cutaway, swallow tail coat, 배광, lounge suit, $\circled3$ coat Robe is the gown style garment which was used by men and women from the Middle ages, the jacket is a short, coat-like garment and coat is a long outer garment. Each origin is different, however the 'jacket' and the 'coat' were used confusely in the middle of 19th century.

• 대한가정학회지
• /
• 제19권2호
• /
• pp.123-133
• /
• 1981

If we are to define that the traditional costume is a comprehensive expression of the culture, thoughts, and arts of a country, it is needless to say that the traditional costume would have always reflected the social and cultural aspects of the times. In order words, the cultural contemplation of a certain people at some point the history is only possible when we observe the distintive features of the costume worn by the people of respective times. Although the Korean people had the native costume of its own from the times of the Ancient Choson to the Three Kingdoms of Koguryo, Paekche, and Silla, the Chinese influence on Korean traditional costume became somewhat pronounced ever since the Silla strenghtened the political ties with the T'ang dynasty in China, and it came to a climax when the dual structure in Korean native costume, being compounded with the Chinese touch, continued to be prevailed from the era of the Unified Silla to the Koryo and throughout the succeeding Yi dynasty, thereby copying the typical aspects of Chinese pattern in clothing and dresses worn by the ruling classes, namely the goverment officials including the Kings. Therefore, it is our aim to study the pattern of Chinese influence on our traditional costume, as well as social and cultural aspects by way of contrasting and comparing our official outfit system, which had been developing in dualism since the era of the Unified Silla, with that of China, and to trace in part the Korean traditional costume. In comparing our traditional official outfit system with that of China, we have basically concentrated on the comparison of the official outfit systems during the periods of the Three Kingdoms, the Koryo, and The Yi dynasty with that of corresponding era of Chinese history, namely the dynasties of T'ang, Sung, and Ming, and followed the documentary records for the comparison. Koreans had fallen into the practice of worshipping the powerful in China and begun to adopt the culture and institutions of the T'ang dynasty since the founding of the Unified Silla. From this time forth, Korean people started to wear the clothes in Chinese style. The style of clothing during the period of the Koryo Kingdom was deeply influenced by that of the T'ang and Sung dynasties in China, and it was also under the influenced of the Yuan dynasty(dynasty established by the Mongols) at one time, because of the Koryo's subordinative position to the Yuan. At the close of the Koryo dynasty, the King Kongmin ordered the stoppage on the use of 'Ji-Joung', the name of an era for the Yuan dynasty, in May of the eighteenth year of his rule in order to have the royal authority recognized by a newly rising power dominating the Chinese continent, the Mind. Kind Kongmin presented a memorial, repaying a kindness to the Emperor T'aejo of the Ming dynasty in celebration of his enthronement and requested that the emperor choose an official outfit, thereby the Chinese influence being converted to that of the Ming. As a matter of course, the Chinese influence deepened all the more during the era of the Yi dynasty coupled with the forces of the toadyic ideology of worshipping the China, dominant current of the times, and the entire costume, from the imperial crown and robe to the official outfit system of government officials, such as official uniforms, ordinary clothes, sacrificial robes, and court dresses followed the Chinese style in their design. Koreans did not have the opportunity of developing the official outfit system on its own and they just wore the official outfit designated on separate occasions by the emperors of China, whenever the changes in dynasty occurred in the continent. Especially, the Chinese influence had greatly affected in leading our consciousness on the traditional costume to the consciousness of the class and authority. Judging from the results, Koreans had been attaching weight to the formulation of the traditional outfit system for the ruling classes in all respective times of the history and the formulation of the system was nothing more than the simple following of the Chinese system.