• Journal of the Korean Society of Costume
• /
• v.26
• /
• pp.221-232
• /
• 1995

It was aimed to study the costume of Koryo dynasty based upon the one hundred and thirty four pictures of the engraved painting on the wood. The costume to study were made about 400 years during the King Mok-jong(1006) to the forth year of the king Wu based upon the Avatamaka Sutra and Pulsul-Yaesu 가) Men's wear 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots. 2. Clothes : 1) King wore an uniform of Mien-lu Kuan system. 2) The Crown Prince and high rank officials wore Yuan-yu-Kuan Won-jung-po-ju-Kuan, Sa-bang-Kuan, Yun-wha-Kuan and montain shape Po-ju-Kuan as a court dress. 3) Officials put on the Pok-du as an official dress and Won-jung-ip-mo, Kun and Mo as an everyday dress, the monk put on the diamond shape Do-kuan and Du-kun and the soldier put on the Helmet. Costume system of man was as follows ; They wore exchanged shape collar, big sleeve jacket, long skirt, apron, hanging precious stone big belt as a Mien-pok. 4) The soldiers wore helmet, Keun-Kap, Scarf, Pee-Bak, Hung-Kap, Pok-Kap, Yang-Dang-Kap, We-Yo-Kap, Kum-Kap, and caries arms. Lower-level officials wore Pe-Bal, Kun-Mo, gae, won-leung, very small sleve jacket, a long coat reaching up to the knee length, slacks, belt, loin cloth and apron. 5) Children's bind their hair up angle shape and wore a half long jacket raching up to the hip and slacks. 나) Women's wear; 1. hair style and hair dress; 1) High rank women's hair style was very extravaganceful. They made their hair top knot (one, two, or more knots) and decoraed precious stone, pan shape head dress, wheel shape head dress, and flower shape precious stone decorated head dress. 2. Clothes ; 1) High rank ladi's wore Kun-Kyun attached jacket, and jacket sleeves decorated pleats, and pleats decorated long skirt, apron, back apron, knot belt, scarf, this type is the same with Dang Dynasty, five dynasty of china, Song, Kum, Won, Myung Dynasty, and our costume of Poe-hae, and Shilla Dyansty. 2) Official ladies wore exchange shape collor, big sleeve jacket, long pleats skirt, apron, and back apron, scarf. 3) Women wore top knot hair style and decorated by ribbons. Shoulder scarf attached small sleeve jacket and wore reaching up to the knee length. Side seam is open and under wear was long skirt. 4) High knot hair style and exchanged shape collor jacket, under wear wore long skirt. They wore under skirts and the jackets. 5) High knot hair style, exchange shape collor jacket reaching up to the knee length small sleeve under wear wore long skirt, belt. 6) High knot hair style, big sleeve jacket and long skirt. 7) Foot wear wore boots, mokasin type shoes, sandal.

• Korean Journal of Heritage: History & Science
• /
• v.33
• /
• pp.162-181
• /
• 2000

This paper investigates sixteen rock-cut arhat images of the Koryo period at Sungbul-sa (成佛寺) in Chunan (天安), South Chungchung Province. These images, together with a Buddha triad in the center, are carved in thin relief on the large granite wall ($375cm{\times}248cm$), and below them is engraved a huge lotus petal which looks to be supporting all the images above. According to extant textual sources, arhats were popularly worshipped in the Koryo period. The Painting of Five Hundred Arhat Images was brought to Koryo from Later Liang (後梁) of the Five Dynasties (五代) in 923. From that time on, the cult of arhat had become gradually known in Koryo. More than thirty ceremonies worshipping arhats (羅漢齊) were officially held in Koryo court. The Sixteen Arhat images (十六羅漢像) were enshrined in many temples. In Boje-sa (普濟寺), which kings and aristocrats often visited for ritual ceremonies, had its main hall dominated by the Five Hundred Arhats, called Nahan-pocheon (羅漢寶殿). However, a limited number of arhat images of the Koryo period, originally made as sets of sixteen or five hundred arhats, are now extant. The Sixteen Arhat images at Sungbul-sa are unique examples that show all sixteen images in situ. The Sixteen Arhat images, though some of them are abraded, show various postures and gesture. One of them sits with his knee bent, and one arhat is sitting on a chair with his hand held upward. Each image is carved in a niche, just as the arhat images of Northern Song China are normally represented in niches of a cave, and are quite similar in style to the arhat images of the Northern Song period at Qinglindong (靑林洞) cave, Feilaifeng (飛來峰), Zejiang province (浙江省). This similarity between the arhat images of Sungbul-sa and those of Qinglindong certifies the strong impact of Song Buddhist art on Koryo frequently mentioned in texts. The Sixteen Arhat images surround the central Buddha raising his hand up to his chest. This Buddha triad could be ascribed to be either the Maitreya Buddha triad or the Sakyamuni Buddha triad based on the Lotus Sutra (妙法蓮華經). Still, the Sakyamuni Buddha triad was more often represented with sixteen or five hundred arhats in the Koryo period, as was seen in the record of Boje-sa where the Sakyamuni triad was enshrined with five hundred arhat images. The Sixteen Arhat images of Sungbul-sa arc most likely to be a rare example of Koryo Arhat images showing the Sakyamuni Buddha triad and the Sixteen Arhats who were predicted to be Buddhas by Sakyamuni in the Lotus Sutra.

• Journal of the Korean Society of Costume
• /
• v.22
• /
• pp.205-224
• /
• 1994

It was aimed to study the costume of Koryo dynasty based upon the thirty pictures of Bud-dha to hang on the wall among the existing Buddist paintings. The costume to study were made about 64 years during the King Chung-yol(1286) to the King Chung-jong(1350) which style was mostly related in Won Dynasty. 가) Men's wear ; 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan Kun and Mo. The young boys binds his hair up one, two, and three knot-s, and tied up with a hair ribbon, A kinds of Kuan-mo were Mine-lu-kuan Yuan-yu-kuan, Nong-kuan, Hae-chi-kuan Pok-du Yun-wha-kuan Yip-mo- and Tu-ku(Helmeto) 2. clothes ; 1) Colour of Koryo King's Mien-ku Kuan costume was not agree with blue and reddish black colour which was used in Yo, Song, Kum and Won Dynasty, however black and greenhish blue colour was agreed with. 2) The king wore T'ung-t'ien-kuan(Yuan-yu-kuan) and the government officials wore Chin-hien-kuan Hae-chi-kuan and Nong-kuan as a court dress. In general the king and the Crown Prince wore a hats which was used in T'ung-t'ien system however sometimes they wore small hats which was cited in literature. 3) Gate guard and upper garment wore colourful costume figured gold colour pattern which was distin-gtive costume system of Koryo. 4) A monk wore big sleeve long skirt big sleeve long jacket long skirt and shoulder scar-f full shoulder scarf or right hand shoulder opened scarf. 5) The Soldiers wore helmet shoulder or scarf pee-back hung-kap, pok-kap, yang-dan-g-kap we-yu-kap kun-kap, and boots and they carried arms. 6) The young boys wore scarf, loin cloth, long skirt, belt neckless, wan-silk, boots and foots wear and wristless. 나) Women's wear ; 1. Hair style and hairs and tied up with a hair ribbon and wore precious ston decorated hair dress wheel shape hair dress pan shaped head dress handkerchif covered hair dress decorated precious stone hair pin silk chippon made of head dress muf-fler shaped hairdress. Boots mocasin hae lee, suk and sandle wored as a shoes depends on the classes. They wore neckless, earing wres-tless and wan-pu-sik. 2. Closthe 1) High rank lade's wore un-kyun attached jacket and jacket sleeves decorated pleats and pleats decorated long skirt apron back apron knot belt, scarf this type is the same with Dang Dynasty five dynasty of china Song, Kum Won, Myung Dynasty and our cos-tume of Poe-hae, and Shilla Dynasty.

• Journal of the Korean Society of Costume
• /
• v.57 no.1 s.110
• /
• pp.105-117
• /
• 2007

The purpose of this study is to help the understanding the characteristics in the costumes of men and women throughout the overall acceptance process of 'Naewaebub' in the late 'Chosun Dynasty' in which the notion of 'Naewae' is more prosperous than any other period in Korean history. Originally the distinction between man and woman was not intended to display the high and the low but to show the mutual respect according to each duty. As time goes on, that ideal became gradually changed to heighten the man and lower the women especially in 'Han' period of China. There was the ideal of distinction in the ancient times in Korea. Until 'Koryo Dinasty' the community has the system of blood-tied that put together maternal and paternal. 'Karye' was introduced in the late 'Koryo Dynasty' and accepted to the stereotype of morale in the 'Chosun Dynasty' and there seemed to be 'Samgang' and 'Oryun' at once. Many restrictions was imposed to behavior in women like rules of prohibition in attending the temple and concealment of woman's face and was recognized to rule of distinction between man and woman. Confucian life custom has been settled to Korean society throughout the late 16th century and 17th century and there were some appearances in the housing construction which divide the residences of man and woman. The characteristics in the costume from the avoidance of opposite sexes are clear in the structure of clothes changed from similar style to different style. The examples of those characteristics are as fellows. The costume in man was developed to advanced 'Pyoun-bokkwan' and 'Pyounbokpo' as social action of man prospered. Meanwhile the trousers which had been the same in the man and woman were separated to different trousers between man and woman. The costume life style of woman was changed to using the a hair whirl, hiding the face in the street and overlapping the innerwear under the skirt which was extension of woman's closed life style in late 'Chosun Dynasty'.

• Journal of the Korean Society of Costume
• /
• v.52 no.4
• /
• pp.111-123
• /
• 2002

The purpose of this study is to correctly understand the shaping process of Mongolian women's costumes, which had close connection with Korean costumes. 'Nomadic' factors of Mongol costumes are trousers and jacket, with deel(袍) pleated in the waistline for horse riding, and knee-covering narrow-sleeved long dress for men and women alike for protection against the cold. However, Married women wore bogthag(gogo: ) containing symbols derived from nomadic way of life. 'Foreign' factors are divided into two kinds; foreign culture applied to Mongolian costumes(woven stuff, Koryo style), and transformation in costumes to adjust to the environmental alteration owing to extended territory(pigap(比甲), Jacket and skirt), the last of which served as the chief distinction between nomadic and Y an fashions. 'Religious' factors are unique patterns and colors while retaining their symbolism. Some aspects(mongke tengri or eternal sky) of Shamanism is reflected in avoidance of washing, while positive effect of Lamanism is evidenced in yellow cosmetic applied on the forehead and 16 sky devil dance clothes.dance clothes.

• Journal of the Korean Society of Costume
• /
• v.56 no.1 s.100
• /
• pp.70-80
• /
• 2006

The purpose of this study is to investigate types and formative characteristics of 'Seon' represented of costume in Water-moon Avalokitesvara of the late Koryo Dynasty. The results were as follows; 'Seon' has two main types, Standard and Decoration types. In the former type, Seon has not any decoration. While, in the latter, Seon is added with decorations. Here, Seon of decoration type can be reclassified into two types, same color and pattern and different color and pattern. Seon most appeared in the Water-moon Avalokitesvara had the type of Decoration, especially different color and pattern. Patterns used for Seon were complex in its composition type and filling in its arrangement style. Seon was mainly used to Guneui(裙衣) and Samkaksika(僧脚崎). For the color combination of Seon, the combination of similar colors was most often used and that of same color was somewhat frequently done. Regarding costumes aesthetic characteristics in accordance with the type of Seon, those costumes appeared natural and elegant when their Seon was Standard in type, natural and brilliant when same color and pattern in type and artificial and brilliant when different color and pattern.

• Journal of architectural history
• /
• v.16 no.5
• /
• pp.7-20
• /
• 2007

Bong-amsa Temple is a special temple in the custody of Jogye sect, a branch of Buddhism in Korea. Due to limited public access to this temple, its Geungnakjeon(paradise shrine) has been little known to outside. But it is known that the Geungnakjeon has been not yet explored from academic standpoints in terms of its historical establishment as well as applications, and it would be two-storied wooden pagoda or the like. In order to examine its historical establishment, this study investigated historical records related to Bong-amsa Temple and its intrinsic architectural style. As a result, it was estimated that the building was established around the transitional period ranging from the late Koryo dynasty to the early Joseon dynasty. And it was found that the Geungnakjeon is not the two-storied wooden pagoda, but the unique building including an incidental component called Chayanggan(遮陽間; a sort of stepped penthouse) in Korea. In order to examine its possible applications, this study compared this building with other Buddhist funeral articles in forms similar thereto, such as Buddhist pagoda(僧塔), sarira container(舍利器) and Gamnodo(甘露圖) which depicts Byeoknyeon Daeban(碧蓮臺畔; a palanquin carrying malignant spirit). Then, this study estimated its possible applications on the basis of relevant historical literatures. As a result, it was found that this building was used as Wondang(願堂; a sort of Buddhist prayer house) to wish royal family's going to Nirvana after death, and it was not Confucian-style architecture popularized in the era of Joseon dynasty, but Buddhist-style architecture built widely from the era of Koryo dynasty to the early Joseon dynasty.

• The Research Journal of the Costume Culture
• /
• v.7 no.1
• /
• pp.177-195
• /
• 1999

In this study, I tried to find out the diffusion and the receptive process of new culture with examining the costume of Ksitigrbha Bodhisattva Buddist drawings, which were drawn by our people in the Koryo dynasty. I classified each part of the costume of Ksitigarbha Bodhisattvas and found out overall characteristics and analyzed their meaning. The results are as follows ; First, because there were several ‘du-gun’ of peculiar types, Ksitigarbha Bodhisattvas were supposed to have ‘du-gun’ before Buddhism was diffused throughout China through the West. The type of ‘du-gun’ was deveoloed more and more through the West and appeared as the type of ‘du-gun’ of Ksitigarbha Bodhisattvas in ‘Ji-Jang Do’ in the Koryo dynasty. And the pecuilar type of du-gun was supposed to have been under the influence of the costume of Taoism in those days. Second, I think that the Buddhist defication of the costume in Ksitigarbha Bodhisattvas was a phenomenon in the process that belief in Ksitigarbha was united with popular belief and widely diffused and became to have its important meaning of its own. Third, the feminine tendency of the costume in Ksitigarbha meaning of the early goddess remained partly in the costume even though Ksitigarbha Bodhisattva was god in India. Fourth, Several found shape designs are supposed to be affected by the diplomatic relationship with the West. As mentioned above the costume ‘Ji-Jang Do’ in the Koryo dynasty was affected by china\`s, world-wide in that ga-sa was Gandira style based on Hellenistic art. Therefore, the reception if new culture was selective on the basis of the country\`s need and this new culture was changed into something peculiar to affect other countries simultaneously with reception.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.2 no.2
• /
• pp.269-276
• /
• 1978

This thesis studied the costumes of Gwan-Rye(관예). the lowest ranking officials of Yi-Dynasty. It researched the written materials and compared it with relics of Gwan-Rye costumes. The gists of the result are; 1) The Koryo tradition of Gwan-Rye costumes continued until the early days of Yi-Dynasty. 2) The Gwan-Rye costumes can be classified into two styles. One is Sa-Ryung(사영) style, which consisted of Dan-Ryung(단령) robe and Jo-Geon(조시) as head gear. Na-Jang(라장) style. the another, consisted of Dan-Ryung. Ban-Bi-Ui(반비의) and Jo-Geon. 3) These styles changed around the days of Yeon-San(연산), the 10th King of the Dynasty. The Na-Jang of later days wore Cheop-Ri(첩리) robe instead of Dan-Ryung. And the Sa-Ryung costume was devided into three different styles. They are (1) Gat(립)- Cheop-Ri (2) Bung-Geo-Ji(단립)-Chang-Ui(창의) (3) Gat- Kwoe-Ja(쾌자) styles.

• Journal of the Korean Home Economics Association
• /
• v.19 no.2
• /
• 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.