• Sijohaknonchong
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• v.43
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• pp.95-122
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• 2015

This paper is based on the compensation of the literature. In other words, the problem of affection Ginyeo & Ginyeo-sijo would review that to be considered compensation of the literature. Specifically, the relationship between maternal oppression and Ginyeo & Ginyeo-sijo. Prior to the detailed discussions looked at the relationship between women and motherhood, through the overall Classic-siga(古典詩歌). As a result, it took the theme of motherhood from a variety of genres, as it were, Hyangga(향가), Goryeo-Sokyo(고려속요), Gasa(가사), Folk songs etc. But Ginyeo groups position was different. The Ginyeo groups was limited or no chance of maternal expressions. This also affects creative Sijo. So the Ginyeo-sijo has a few characteristics. In terms of the compensation of oppression, characteristics of the Ginyeo-sijo can be categorized into three types. These are dedication of a plaintive love, bold expression of desire, wittily linguistic playfulness. Dedication of a plaintive love is a very passive, and the general pattern of the Ginyeo-sijo. Bold expression of desire, this is the love the theme is the same. But this is a positive. And then, wittily linguistic playfulness is a rhetorical expression. It was used as a method of ambiguous and homophone. In short, for Ginyeo groups would have been a chance of roused to action(發憤), that is oppression of motherhood. And this would contribute to the development of Ginyeo-sijo. As the experience of exile literature developed in isolation of the Scholar-official(사대부).

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.151-163
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• 2008

This study was undertaken to design Ginyeo's character and costume in the early-middle Goryeo Dynasty which had a few relics, and to make practical cultural contents. The famous Goryeo Ginyeos who had real names are costume characters. Goryeo women dressed in delicate white ramie jarket in "Goryeo-dokyung", and the shape of Jacket can be two kinds: long-wide jacket enough to tie a belt, and long caftan cover the knee. Goryeo women enjoyed wide yellow skirt, but Ginyeo in "Dongguk-isanggutjip" put on pink, flower, pomegranate, red skirt for high class ladies. In the case of Mong-su(a head cloth with black gauze train), it is thought that Ginyeo fold up train like lower class or just hang down like ordinary women, because of their status. As underwear, a ramie jacket and wide underpants were set up. It is needed that many Golden bells and jade trinkets must be attached to Goryeo Ginyeo's waist to stress their characteristics. Ginyeo's hair style can be designed so that a bunch of right hair was dropped down and the rest hair was rolled on reft shoulder. To design a Ginyeo's costume chatacter of the early-middle Goryeo, the richness of wide skirt, delicacy of white ramie, a great deal of trinkets must be emphasized correctly as a characteristic of Goryeo women's costume in that period.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1322-1331
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• 2008

The purpose of this study is to design an official costume of Joseon Ginyeo in the scholar’s banquet in 16th century, thereby making correct historical animation, drama costumes, and various costume contents. Every Ginyeo in and wore a long yellow coat with short front edge. 'Dan-ei', Ginyeo’s court costume, had very similar shape except color and collar, therefore the size of Dan-ei was adapted to design a yellow coat for drama actress. Ginyeo’s Jogori in these paintings was wide and long enough to cover undervelly under the edge of yellow coat, but It was designed more slim and long for better appearence and comfortable movement in my work. A skirt of Ginyeo was designed with circumference of about 360cm and length of about 105cm according as a skirt style of Joseon ladies in 16th century. Ginyeo's Jam(hairpin) was consist of a vase, a plum blossom, and a lotus pattern. And, a wide underpants with a single suspender, portable pouch, Un-hae(women’s shoes) with low heel are needed for drama actress in the role of Ginyeo. In this design, it is very important to save an estimate and time, select suitable mordern fabrics, reform discomportable points, express a charater’s role, and make a trendy appearence.

• Sijohaknonchong
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• v.22
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• pp.225-247
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• 2005

This article is aimed at reviewing the series of 'Gakssi (각씨)$\~$' Sijo or Saseolsijo. We can find the word 'Gakssi' having a very close relationship with alcohol. side dishes and the space where music is played in a record published before the late Chosun dynasty and it was recited in Korean verses. 'Gakssi' appeared in the verses did not mean average woman but a character raising the singing climate at the 'Juyeonseok(주연석) or Pungnyujang(풍류장)', as a mood-maker. $\lceil$Gaksine nae cheobi doena(각시니 내 첩이 되나)$\rfloor$($\#48$), the forerunner among the 'Gakssi (각씨)' verses, is no exception. In this context, we can come to the conclusion that this verse is closely related to such places as 'Juyeonseok(주연석) or Pungnyujang(풍류장)‘. Therefore, the others coming after $\#48$ can provide reasonable bases to consider this song associated with people who were able to visit those locations.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.76-98
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• 2023

The results of analyzing the outfits of male and female characters depicted in the "Hoehonryedocheop" (回婚禮圖帖, Deoksu 6375) held by the National Museum of Korea and estimating its production date of the "Hoehonryedocheop"are as follows. Firstly, an elderly groom is depicted wearing a patterned heukdanryeong (黑團領) with rank badges, a garment commonly donned by government officials in works such as "Jeonanryedo (奠鴈禮圖)" and "Gyobaeryedo (交拜禮圖)". And the old groom in "Heonsuryedo (獻壽禮圖)" "Jeobbindo (接賓圖)" and "Jungroeyeondo (重牢宴圖)" is shown wearing a jarip (purple hat) without a paeyoung (ornamental jewelry strap), accompanied by jade colored robe with a red strap belt. Gireokabeom (雁夫) is observed wearing a jarip (紫笠) adorned with a paeyoung (貝纓) and a patternless heukdanryeong with rank badges. Adult male descendants are depicted wearing dopo (道袍), while guests wear dopo, cheolrik (帖裏), and jikryeong (直領), accompanied by red and blue straps denoting their social status. Jingssi (徵氏), sidong (侍童), and young grandchildren are observed wearing jungchimak(中赤莫). The young servants are wearing jungchimak, and the boys carrying the food have braided their hair and worn sochangu (小氅衣), while adults servants wore jeonrip (氈笠) and sochangui. Performers are seen clad in a sochangui, jeonbok, and a blue sash around their waists. Secondly, the elderly bride is portrayed wearing a keunmeori (ceremonial headdress) and a green wonsam (圓衫) in "Gyobaeryedo," while in "Heonsuyeondo," she is depicted in a blue skirt and a jade colored jeogori (赤古里). Women descendants are shown adorning headdress decorations, such as binyeo(簪), banja(斑子) and pearl daenggi (眞珠唐紒) on their eoyeomeori (於于味, ceremonial headdress). They are further dressed in skirts of navy, red, and jade hues, paired with various-colored jeogori. Additionally, a woman wearing a navy skirt and a green jangot (長衣) is also depicted. The dongnyeo (童女, unmarried women) wear beolsaengmeri (娘子雙髻), headdress) with long binyeo and long dodaik-daenggi (都多益唐只). They wear chilbo-jokduri (七寶簇頭里) and a red skirt with a green hoejang-jeogori (回裝赤古里). Bija (婢子) wears garima (加里亇) on her eoyeomeori and is seen dressed in skirts and jeogori resembling those worn by noble women, albeit with lighter colors, shorter skirt length, and a subdued volume. Ginyeo's attire bears similarities to that of noble women, although with a dress with less vibrant tones and devoid of decorations on the eoyeomeori. Thirdly, based on the main character's jarip, along with the cheolrik and jikryeong worn by the guests, as well as the performances by musicians of the military camp, it is suggested that the main character of the 60th wedding anniversary is connected to the Ministry of Military Affairs or the military camp. Judging by the military band's short-sleeved vest, the silhouettes of the women dress, and the headdresses, it is likely that the "Hoehonryedocheop" was produced between the 1760s and 1780s.