• Journal of the Korean Society of Costume
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• v.58 no.5
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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.

• Journal of Nutrition and Health
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• v.30 no.4
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• pp.415-424
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• 1997

Serum lipid levels and fatty acid composition of serum phospholipids(PL) were investigated in 24 healthy male subjects who consumed either corn oil(CO) rich In linoleic acid(LA), perilla oil(PO) rich in $\alpha$-linolenic acid($\alpha$-LNA), or canola oil acid(OA) as a major fat source fir 5 weeks. The PO and the CNO groups showed significant(P <0.05) increases in serum high density lipoprotein-cholesterol(HDL-C) levels and in ratios of HDL- C/total cholesterol(TC) compared with initial values measured at the beginning of the study. Significantly(p <0.05) increased concentrations of serum triglycerides(TG) ware observed after 5 weeks of the CO based diet compared with both its intial value and the concentration observed after 5 weeks with the PO-based diet. fatty acid composition of serum PL reflected changes in dietary fatty acid composition and metabolism. Compared with the initial levels, significandy increased contents of eicosapentaenoic acid(EPA) and docosahexaenoic acid(DHA) were observed in serum PL of the PO group and significantly increased contents of $\alpha$-LNA and EPA were observed in the CNO group. Arachidonic acid(AA) content of serum PL did not change in the CO group during the study period, although, the increase in LA was significant(P <0.05). Compared with the CO-based diet, both the PO and the CNO-based diets seem to have beneficial effects on atherosclerosis by influencing the serum lipid profile and fatty acid composition of serum PL.

• Journal of Fashion Business
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• v.2 no.3
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• pp.157-165
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• 1998

In Koryo Dynasty Pyonbokpo(便服抱) was worn by both sexes. There were four styles that was Yosunchollic, Dappo, Pol, Poll, of the men's Pyonbokpo(便服抱). Double breast style (重据形) was used for the adjustments of these clothes. Neckline and he-m line were substituted by rectangular collar (목판깃). The width and length of sleeves in Yosunch-ollic was tighter and shorter as general Po. Coat-string (Okgolum), side slit were used. Feminine Pyonbokpo (便服抱) had usually same style of men's one. There was one was back longer than front length. They wore it with or without a belt. Knot-button, Coat-string (Okgolum), White straight collar (DongJung), side slit were used.

• Journal of Fashion Business
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• v.5 no.2
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• pp.105-115
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• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.52-64
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• 2008

The purpose of this study is to analyze the characteristics of Seon that was expressed in the costumes of worldly figures illustrated in Koryo Buddhist paintings. Findings of the study can be summarized as follows. Out of the above mentioned costumes, except those for Buddha and Bodhisattava, most were actually worn by people of Koryo. Shown in the paintings, the patterns and decorations of Seon are more brilliant and diverse in part of worldly figures than in that of Buddhist figures. For men, Seon was mainly used to robes for Buddhist priest while, for women, costumes for the queen and noble women. Seon was applied to costumes for both men and women, especially Po for ritual purposes. Besides, it was sometimes used to Buddhist priests' robes and women's Banbi and chima. The patterns of Seon were usually single in composition style and scattering in arrangement style. Whether applied to costumes for men or women, Seon usually had complementary colors that were harmonized.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.76-90
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• 2010

Gwa-du(裹肚), name of a garment, appears often from documentary records of Joseon Dynasty. It is assumed as one of the upper garments for men, and according to the record, it was worn as a set with Dan-ryung(團領), Dap-ho(搭胡), Chul-rik(帖裏), Han-sam(汗衫), pants and socks. After the Japanese Invasion of Korea in the 17th century, it changes to a shape of wrapping clothes with straps at four corners, and used to cover the stomach of a corpse like sash. From 16th-17th century, before the Japanese Invasion of Korea, the excavated costume shows a clothing which takes a role of Jegori, longer than Han-sam(汗衫) and shorter than Po(袍). In this study, this clothing is called Gwa-du(裹肚). This study examined the usage and shape of Kwa-du from some documentary records- "朝鮮王朝實錄-The Annals of the Joseon Dynasty", "禮書- Book of Manners", "宮中件記- Googjoonghalkee, recording court goods and commodities lists" and more with actual clothing. Kwa-du is presumed to have changed to men's Jegori So-chang-ui(小氅衣) after 17th century.

• Journal of the Korean Society of Costume
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• v.53 no.8
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• pp.39-52
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• 2003

This study was classified according to types added ‘Seon(선)’ to the dress of Chosun Dynasty and analyzed them into formative characteristics. the results were as follows ; 1, ‘Seon’ is divided into three types of the standard, the decoration and the application. According to three types, the types of the standard are subdivided into Jemul Seon(the shape put the right side into lining) and the different color Seon. The types of the decoration are subdivided into Stitch, Surround, Gild and Embroidery form. And the types of the application are subdivided into Piping, Fur, Braid and Metallic form. 2, It showed as the different color Seon and Jemul Seon in the case of men dress and as the different color Seon and Gild form in that of women dress. 3, Its application showed in the ceremonial dress and ‘Po(袍)’ types of men dress and in the ceremonial dress and as accessories of women dress. 4, It was used as complementary color tone in both men and women dress. 5, It was used as its surface in men dress and as its reverse side in women dress according to Seon of style. 6, It was used as ‘Sa(紗)’ in men dress and as ‘Dan(緞)’ in women dress according to Seon of texture. 7, Seon of an aesthetic characteristics was distinguished according to Seon of forms, that is to say, Jemul Seon standed for calm beauty, Two color Seon standed for dynamic beauty, Stitch, Surround and Piping form standed for delicate beauty, Gild and Embroidery form standed for brilliant beauty and Fur, Braid and Metallic form standed for solid beauty.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.766-777
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• 2012

The 13 genre paintings by Junkeun Kim in the book "Korean Games(by Stewart Culin 1858~1929)" were used to study the late $19^{th}$ century's basic costumes and Games style in Korea. The people who appear in the paintings are 26 adult males, 2 minor males, 2 adult females and 3 kisaengs. Typical men wore 'Jeogori' which had various colors and white linings with a reached hip line, and knotted with a 'go-rum' on the right side. They also wore, white colored 'Baji' with colorful sash that were knot below knee or ankle together with 'Hang-jun' or 'Daenim'. They wore 'Beoseon'. Some men wore 'Po' whose colors were blue, green, indigo, white. The general women wore 'Jeogori' in deep green and light pink, indigo, green, red, and they matched with colors for 'Kit' and, 'Go-rum', 'Kut-dong' and its 'Go-rum' was short and narrow. It was so fit and short with narrow sleeve. It had 'Dunggun-kit'(round head collar) with white 'Dong-jung' and so it fit at neck. They wore 'Chi-ma' whose color was red, light green, or light indigo. It contrasted with 'Jeogori'. The width of 'Chi-ma' was big enough. Then white inner slacks came out under the skirt. Traditional Korean games can be classified according to age and gender. Then the games can be further classified into three categories : men's games, women's games, and games for all. The games for adult are an archery practice, hunting, shovel work with a karae, making a bow, drawing Jongkung-chart, Korean chess, playing paduk, and the Korean card game. A swing is a game for women. Games for both men and women are dice play, and domino game. Games for both adult and minor males are sledge, and tightrope walking. Through genre paintings in the $19^{th}$ century, I reached a conclusion that basic costumes are similar to 'Hanbok' at the present time and the method of wearing them has not changed much. It appears that the originality of traditional costumes has been maintained.

• Journal of the Korean Society of Costume
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• v.5
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• Journal of the Korean Society of Costume
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• v.2
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• pp.9-21
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• 1978

The object of this article is to examine the shapes and the development of the costume worn in the early and middle Yi Dynasty from the viewpoint of the history of customes with the excavated clothing from Chung-Ju (1530 A.D.), Wool-San (1650 A.D.), An-Dong (1650 A.D.) etc. The study of the history of costumes of the early years of the Yi Dynasty has been mainly dependent upon fiblirographical records sofar. So I have arranged in order some excavated clothing of the early Yi Dynasty, which gives us some means for the study of Korean historical costumes. It is noticeably remarkable that the daily wear of the early Yi Dynasty period was excavated for the first time from Chung-ju. The results drawn from this research are: It is argued that the original from of Chul-nik(天翼) has been excavated. This is the remnants Mongolian clothing of the Koryo Dynasty, and it is sketched in the Dai-Myong-jib-lei(大明集禮) as Yo-sun-o-ja which the lower classes usually put on. The similar clothing is also handed down as a Dan-po(緞袍) from the ming Dynasty, and we can presume that Chul-nik was a common clothing regardless of the social status of their wearer. It is also remarkable that even women at those times wore the Chul-nik. The length of the Cheo-go-ri of the early Yi Dynasty was the middle hip length, and the edge of the sleeves was very wide which called Cham-soo, and it was handed down to the middle period of the Yi Dynasty which can be seen in the coat (po) of women(直領袍). The systems of the straight-collar Po(袍) during the early Yi Dynasty were discovered for the first time. This Po(袍) which would represent the po-system of the early years of Yi Dynasty, is handed down even to the middle of Yi Dynasty. The collars of the Po(coat) of the early Yi Dynasty are mostly double collars(二重衿) and these give us the advantage in reconsidering of the cheo-go-ri(赤古里) of the Kingdom of Shin-la, or Koryo Dynasty. The edge of the women's Ba-ji(袴) of the early Yi Dynasty was wide and the Ba-ji had a shoulder belt which connect the front part with the back one, which showed the practical point of Ba-ji. The men's Ba-ji of the middle Yi Dynasty was the same as can be seen today and it is clear that the Mongolian Ba-ji dated to B.C. 1 was the same one also. In the system of the Chi-ma(常), there seems to be no differences between the ancient styles and those of these times.