• 한국의류학회지
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• 제24권7호
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• pp.1035-1043
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• 2000

This paper studied the excavated costumes of the Go's of Jang Taek that had been found in Kwangju metropolitan city in 1986. The excavated costumes mainly show Po(포) including Chopni(첩리), Dapho(답호), Danryung(단령), Jikryung (직령). In addition, there are some kinds of trousers, hat, korean socks. The meanings of excavated costumes of the Go's of Jang Taek are the followings: 1. They offer the important research materials to studying of general dress. 2. They offer actual proof materials of 15-16 century in opposition to depending on documentary records. 3. They offer the useful informations on the form, textile, dyeing because of good condition. 4. They offer the variety of Po that many persons weared at that times. 5. They offer the practical and rational construction by folding pleats and needlework. 6. They did not quilted padded clothes in comparison with other dress at that times. 7. They offer the important materials on the trousers. In the near future, we will study excavated costumes on dyeing, textile structure, trousers formation and so on.

• 복식
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• 제60권9호
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• pp.58-76
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• 2010

In this study, the shapes of po worn by military officers who served During the period of Japanese Invasion of Korea(1592-1598) were investigated. Findings of the study can be summarized as follows. Various types of po that military officers usually wore during the period of Japanese Invasion of Korea includes jikryeong, dapho, dopo, cheolik, aekjureum, jangeui, jungchimak and bangryeongpo. Out of these types, cheolik and jungchimak were most often used by the officers. Po that were usually worn by military officers during the period of Japanese Invasion of Korea as above mentioned is characterized as no difference in length between the front and back of the costume, kalgit and a pair of coat strings which are directly attached to po. The sleeves of the costume are bean chaff-shaped in some cases and just narrowly shaped in other cases. Similarly, the outer seop of po was either double-layered or single-layered. For jikryeong and dapho, mu is usually type of outside wrinkle. For dopo, its rear kit has the inner hem whose right and left edges are usually distant, respectively by 6~16cm, from the back center of the costume. Cheolik and aekjureum usually have either fine or broad pleats. For jangeui and jungchimak, mu is usually trapezoid in shape. Among various types of po which were usually worn by military officers during the period of Japanese Invasion of Korea, most representative are jikryeong from the tombs of Bae Cheon jo, dapho from Shin Yeo Gwan, dopo from general Bak and Bae Cheon Jo, cheolik from Nam Yoo and Cho Gyeong, aekjureum from Shin Yeo Gwan, jangeui from Kim Ham, jungchimak from Bae Cheon jo and bangryeongpo from Cho Gyeong.

• 헤리티지:역사와 과학
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• 제53권3호
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• pp.142-163
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• 2020

조선 전기 적개공신(1467, 1476 초상 제작)과 정국(1506)·정난공신(1507), 위사공신(1545) 초상까지를 아청색 흑단령 차림이 등장하여 정착하는 '관복 제2기' 공신 초상으로 규정하고 적개공신 손소, 오자치, 장말손 초상 3점, 그리고 정국·정난공신 유순정과 홍경주, 정국공신 이우와 유홍의 초상 4점, 총 7점을 대상으로 분석하였다. '예복 흑단령' 차림의 적개공신 초상의 사모는 성종 초 높아졌던 모체가 다시 낮아졌고 모정은 둥글게 표현되었다. 너비가 넓은 타원형의 사모 양각에 무늬는 표현되지 않았다. 아청색 단령과 답호, 철릭에도 무늬가 표현되지 않았다. 단답호와 철릭의 색상이 각각 녹색과 홍색으로 통일되었으며 단령과 답호의 무는 '안팎주름무'로, 신발은 백화로 표현되었다. 적개공신 초상은 책록 시의 품계가 아닌, 초상 제작 시의 품계로 그려졌음을 보여 주었다는 점에서 주목할 만하다. '시복 흑단령' 차림의 정국·정난공신 초상은 사모의 경우, 적개공신 초상에서 낮아진 사모 모체의 형태는 그대로 유지되었으나 모정 부분이 조금 좁아지고 앞으로 휜 형태로 변하였으며 사모 양각은 전체적으로 너비가 균일한 타원형으로 표현되었다. 그리고 전 시기와 마찬가지로 사모 양각에도 무늬가 표현되지 않았다. 당하관 초상의 복식에는 무늬가 표현되지 않았으나 당상관 초상의 복식에는 운문(雲紋) 등이 표현되기 시작하였다. 또 단령은 안감 없는 홑단령으로 표현되었다. 당상관 초상에서는 홍색 답호와 녹색 철릭을, 당하관 초상에서는 녹색 답호와 남색 철릭이 표현되었다. 따라서 당상·당하 신분에 따라 받침옷의 색상이 구별되었음을 알 수 있었다. 단령과 답호에는 '안팎주름무'가 그대로 유지되었다. 신발은 흑화로 표현되었으며 흉배와 품대는 공신 책록 당시의 품계가 반영되어 있었다. 한편 위사공신 초상은 확인할 수 없었으나 명종대의 기록화를 통해 중종대의 단령 제도와 유사함을 알 수 있었다. 이상으로 살펴 본 제2기 적개공신 공신 초상을 통해 흑단령 차림을 공신 초상의 관복으로 사용하기 시작하였다는 점, 공신 초상 제작 시기의 품계를 초상에 반영하였다는 점을 확인할 수 있었다. 정국공신 초상 이후 복식에 무늬가 표현되기 시작하였는데 특히 흑단령의 무늬 유무로 당상·당하를 구별할 수 있게 되었다. 그리고 표현된 관복 모습은 당시의 관복 규정이나 관행과 일치함을 확인할 수 있었다.

• 복식
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• 제60권1호
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• pp.135-144
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• 2010

This study is on the reproduction of King Sejong's costume presented in at the National Classical Music Institute in the late of 2008. The performance was presented focusing on the idea of ceremonial music of hoi-ryeyeon produced in the reign of king(1433). The reproduction of King Sejong's costume was undertaken to keep pace with the times and to pay due regard to the performance costume. The implications of the study are as follows. King Sejong's Hoi-ryeyeon ceremonial costume is a royal robe(gonryongpo), the best one of king's clothing. The basic type of gonryongpo is that of fastening four yongbos to danryoung. The type of gonryongpo is, therefore, made with reference to unearthed articles and portrait of the first king of the Yi dynasty. The yongbo is larger one than the late period of the Yi dynasty in the light of portrait of the first king of the Yi dynasty. The supporting type of gonryongpo is that of gonryongpo, dapho, and chulrik, king's dress granted by Myeong dynasty. In the late period jikryeong was used as supporting dress and fixed to be lining and included jikryeong. Therefore the order of supporting dress was jikryeong, dapho and chulrik and was reproduced with reference to unearthed articles in the early Yi dynasty, as did the small piece of crown, belt and shoes.

• 복식
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• 제58권5호
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• pp.118-133
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• 2008

The basic costumes of the joseon dynasty such as pants and jackets were not particularly distinctive over the period in comparison to po. The coat that was worn over pants and jacket, however, had different forms in the course of the joseon dynasty. In this paper, I will analyze the changing style of pyeonbokpo, the daily costumes of Joseon man, which were excavated in recent years. Changes in the collar style were the most distinctive of joseon pyeonbokpo such as cheolik, dapho, aekjueum, jikryeong, daechangyeui, jungchimak, and juyeui. Although pyeonbokpo had double collars in the early joseon dynasty, they disappeared in the seventeenth century: a straight line also replaced by a curve for the collar perimeter. Front-adjusting of pyeonbokpo was very deep in the early joseon dynasty; front-adjusting became simple in the late joseon dynasty, resulting in the central positioning of a ribbon. The rectangular form of a gusset(mu) was stitched to the bodice through various pleats. Gusset patterns changed greatly into various forms in the seventeenth and eighteenth centuries, along with the ladder gusset form. The long vest(dapho) was half-sleeved and had a deep front adjustment in the early joseon dynasty; however, it did not have collars and sleeves since the eighteenth century. The waist line of cheolik had the ratio of 1.2 to 1 for the bodice to skirt. But the length of skirts grew gradually into the ratios of 1 to 1, 1 to 2, and 1 to 3.8 while the waist line moved upwards to the chest line. Sleeves of all po had a straight form but they gradually developed the tendency to widen towards the wrists. Later, sleeves changed again, having a wide rectangular form starting from the armpits. Cheolik was widely worn in the early joseon dynasty; however, it was worn less in later years. Instead, clothes that had slits such as dopo, daechangeui, and jungchimak were greatly available. These characteristics of the change in men's costumes enable us to measure the time period of excavated findings despite the lack of records for Joseon graves.

• 복식
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• 제60권3호
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• pp.56-65
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• 2010

It is time to create an image of Korea that uniquely defines and represents the nation to the world, by incorporating Korean traditions with the cultural industry. To this end, it is important to see the beauty of Korean tradition from an academic perspective and further explore its utility from an industrial viewpoint. This study is intended to design uniforms for employees in Korean restaurants at hotels or docents in Korean-styled museums. In doing so, we eyed on Baeja, a Korean traditional vest as the cultural archetype, and created cultural products. As our archetype, we chose two pieces of Baeja : one excavated from the tomb of Suryun Sim (1534-1589) which is displayed in the Gyeonggi Provincial Museum, and the other from Byeon of the Jeonju Lee family (1636-1731) in Suk Joo-Sun Memorial Museum at Dankook University. We also adopted Dapho with a Korean traditional vest with long length. Based on these cultural archetypes, seven products were developed. With the traditional food and way of living in Korea being more and more recognized in the global stage, it would be continuous creation and development of cultural contents with history and story rooted in the cultural heritage of the nation that could enrich our culture by bringing traditions back to the modern days to incorporate the past into the present. It is important to restore traditions when developing cultural products. However, it is also critical to commercialize ideas with stoη and creativity in the market for cultural products.

• 복식
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• 제57권1호
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• pp.176-186
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• 2007

The purpose of this study is to reconstruct upper class women's costume of 'Mongol-pung' and 'Goryeo-yang' in a civilization-exchanged period between Mongolia and Korea, for making movie or soap opera costume and historical animation. 'Mongol-pung' was a cultural influence from Mogolia to Korea. For example, sleeveless bi-gap(比甲) and half-sleeved dap-ho(搭忽) were put on by many women at that time. On the basis of old literature, I suggest a 'Mongol-pung' costume as a set of seeran-chulrik(膝欄 terlig), em-broidered bigap, dapho of meat-red color for women. 'Goryeo-yang' was a cultural influence from Korea to Mongolia. Due to old poem of Yuan, 'Short outer Jacket with square neckline, half sleeves, and clear color(方領過腰半臂)' was a representative of 'Goryeo-yang' in Mongolian royal women's costumes. Many women were dressed in it with short inner jacket and wide skirt. In the case of making soap opera costume, the budget of broadcasting station, appearence of nowaday's actor and actress, similarity between old fabric and modern fabric must be considered altogether.

• 한국의류학회지
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• 제44권1호
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• pp.107-125
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• 2020

Indigo [鴉靑] was used as a symbolic color in 15^th century diplomacy. This study reinforces the historical research for characteristic and shapes of indigo colored royal clothing gift in King Seongjong's reign with a focus on po [袍] and ieom [耳掩]. Clothing made of fur that was combined with satin damask, silk gossamer [綃] were frequent gift, and a sable coat was a symbol of high-ranking clothes. Another clothing's materials were satin damask, sheer fabric gauze [羅], cotton, tabby with silk and ramie [紵絲]. The indigo color of King Seongjong's reign was recommended not for luxury. Historical research factors for indigo clothing gift were extracted from noblemen's relics. Danryeong and jigryeong are shaped of narrow sleeves and trapezoid gusset pleated in and out. Sable coat can consist of satin damask outshell, sable lining, and double oblique collar. Heohyung are presumed types of short sleeved fur vests. Ieom can be reconstructed with an indigo fabric outshell and sufficient fur. Dapho has gusset pleated wide and narrow. As additional gifts, the shapes of yoseon-cheopri and cheopri were analyzed. We selected a commercial fabric similar to relics and an indigo powder dyeing method to remedy a lack of traditional material. The reconstructed data were presented as flat drawings and samples.

• 복식
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• 제65권2호
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• pp.75-91
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• 2015

This study is about Jongi-sim(Paper used for interlining) used in costumes of the Joseon Dynasty. Terms related to Jongi-sim include 'Anji(按紙)', 'Soh(槊)' and 'Gyeok(隔)'. Anji is a term that refers to Jongi-sim used on padded clothes. Soh refers to stiff and thick paper inserted between fabrics. Gyeok is predicted to be a term that refers to the use of paper as both interlining and lining. Chojuji(草注紙) was used for Jongi-sim in Cheolik, Aekjueum, Baji and Dae among kings and crown princes' ceremonial costumes. Chojuji and Jeojuji(楮注紙) were used in women's royal costumes such as Jeogori, Hosu and Chima. Doryeonji(搗鍊紙) was used in Dae and Yangyieom. Gongsangji(供上紙) was used for the interlining or lining in Yangyieom. Excavated costumes that used Jongi-sim for the entire clothes are Cheolik and Jangjeogori. Jongi-sim placed in Git(collar) was sometimes placed together with cotton. Geodeulji of Jangot used paper in invisible parts as to replace fabric by paper. Danryeong and Dapho attached Jongi-sim to Mu, and stiff paper was inserted.

• 복식
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• 제65권6호
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• pp.112-132
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• 2015

Banya was a concubine slave of Shindon(辛旽) who was a powerful monk in late Goryeo Dynasty, as well as the mother of King Woo(禑王), a successor of King Gongmin(恭愍王). This study was undertaken to investigate the sources of costume for Banya. The study focused on the features of Buddhist service costume, street wear, and daywear for common women's costume during the prime age of the Buddhist culture. The study looked into Buddhist paintings, old documents, advanced research, and relics. There are three characteristics of historically investigated Buddhist service costume for Banya: Dallyeongpo(團領袍), long Jeogori made with black Ra(羅), and Jeogori with a long scarf. Skirt, under Jeogori, under skirt, Cho, Ra(羅), Neung (綾), Dan(緞), patterned ramie(紋紵), and Tapja(塔子) were included in all Buddhist service costume. And, street wear consisted of Women's Dapho(婦人搭忽), long Jeogori, skirt, underwear and black Ra beil(蒙首). Daywear consisted of Banbi(半臂), long Jeogori, and skirt, underwear made with cheap fabric, Ju(綢), ramie, and imported cotton. Plumper hair, silver comb and Biyeo, lining of light pink-colored thin silk(小紅薄絹), bronze openworked ornament that fixed the outerwear's opening, bronze needle case, Sutra box and heated gemstone could be matched for the Buddhist service costume. Bronze and heated gemstone could be used for ornaments of street wear and daywear. The investigation of ornaments was carried on by referring to presentation of overseas collections. Considering the limitation of the study on Goryeo costume due to the lack of research material, future studies including much more relics in oversea collections needs to be undertaken.