• Journal of the Korean Society of Costume
• /
• v.54 no.5
• /
• pp.59-70
• /
• 2004

Tea has influenced the basis of Korean culture in history for a long time. The dissertation aims to establish the history of the costumes for the tea ceremony based upon historical data. During Thee Kingdom Period. there was a ceremony called Tea Offering Ceremony In Silla times, there were Tea Offering Ceremony and Royal Shrine Tea Ceremony: In Corea age, they served Tea Presenting Ceremony: In Chosun age. tea ceremony was a part of Tea Presenting and was held during official greeting feasts for foreign envoys and during feast ceremonies at the court. The costumes for the tea ceremony by period are as fellows : In Corea times, king and all the government officials wore official court attire for Enthronement Ceremony (Ka-Rye). For Official Guest Reception Ceremony (Bin-Rye), king wore official costume, but in case the envoy was not carrying an Official King＇s Letter, king wore Ordinary Costume. In Chosun times, both king and prince crown wore ordinary costumes of winged silk crowns and royal robes (with golden dragon patterned segment) for Envoy Reception Tea Ceremony. In time of royal feast ceremony, king and prince crown wore ordinary costumes of winged silk crowns and royal robes, while queen wore red purple silk robe (red purple embroidered segment). Chosun＇s royal court occasionally held tea ceremonyat royal feast ceremonies during which king also wore ordinary costume of winged silk crown and royal robe as a costume to attract good fortunes. In case of ceremonies for bad occasions, a tea ceremony was included in Royal Inquisition procedures (joong-hyung-ju-dae-eui) during which king wore simple costume (Pyun-Bok).

• Journal of the Korean Society of Costume
• /
• v.57 no.2 s.111
• /
• pp.11-28
• /
• 2007

Sang-uiwon was the bureau of Royal attire in Chosun Dynasty. It had been established in King TAEJO, Chosun Dynasty. The 597 artisans, sorted by 68 types were assigned to Sang-uiwon. The ministry of Taxation[Hojo] and Tribute bureau[Seonhvecheong] had charged of finances of Sang-uiwon. According to the Regular rule of Sang-uiwon, there were five types for finances. The principal income tax[Won Gong] was the assignments of national finance to Sang-uiwon. The materials for the Royal informal dress were offered by usual tributes. The kinds of usual tributes were the tribute for the Royal families' birthday, holidays such as New Year's Day, the fifth day of the fifth lunar month, the harvest festival[Chuseok], and the winter solstice, the tributes for spring and fall, every first day and fifteenth day of the month, an annual tribute, an annual present, and an annual laudatory goods which were the King's presents to His Majesty's lieges. With usual tributes from Sang-uiwon, the Royal informal dress was made by the dressmakers and embroiderers who were Court ladies. The Royal informal dress for the King and the Crown Prince was trousers[Ba JI], shirts[Sam A], jackets[Gua Du], men's gowns[Chul lick], and long vests[Due Grae]. The Royal informal dress for the Queen and the Crown Princess was loose drawers[Dan Ni Ui], long skirts[Chi Ma], shirts[Sam A] and jarkets[Go Ui]. When there were the king's proceeding outside the palace, royal parties, cases of tributes to Chinese, special tributes were offered according to the procedures, like as making letters about the affairs, consulting, and permission. The tributes were also offered by a royal ordinance. According to the kinds of Royal event, the officers of Sang-uiwon procured the Royal costume which were conformed to the Royal etiquette.

• Proceedings of the Korea Society of Costume Conference
• /
• 2004.10a
• /
• pp.3-26
• /
• 2004

• Journal of the Korean Society of Costume
• /
• v.30
• /
• pp.183-200
• /
• 1996

The purpose of this study is to examine the custume of Stone statues in roylal tombs and graves in Shilla dynasty. Stone statues in royal tombs and graves in Shilla dynasty. Stone statues in royal tombs and graves are divided into statues of the twelve horary signs(十二支像) and stone figure of a man(石人像). The results are as follows. 1. Statues of the twelve horary signs are found eleven in royal tombs and graves. First statues of the twelve horary signs in assumed Shinmunwangrung(推定神文王陵) wear long robe(長袍) pants(袴) skirt(裙) It says that the costume element of Shilla and the costume element of Tang are mixed. But statues of the twelve horary signs was developed as a tutelary god. Statues of the twelve horary signs in Kimyoushinmyo(金庾信墓) wear jacket pants(袴) instead of long robe(長袍). Also as attaching instead of long robe. Also as attaching other color cloth in collar of jacket or not they are showing dress of mulitary officer. next statues of the twelve horary signs in Hondokwangrung(憲德王陵) wear long robe(長袍) pants(袴). it says that they imitate assumed Shinmunwangrung(推定神文王陵) Kimyoushinmyo(金庾信墓). And statues of the twelve horary signs in the rest of royal tombs and graves put on decorative armor. 2. Stone figure of a man are found is Song-dokwangrung(聖德王陵) Wonsongwangrung(元聖王陵), Hungdokwangrung(興德王陵) and divided into two types. Type 1 wear long robe(長袍) and Yangdang(裲襠). They stend for the best dress uniform of military officer. Type 2 wear Danreong(團領) with side slash. They stend for common soldier.

• The Research Journal of the Costume Culture
• /
• v.17 no.6
• /
• pp.1112-1128
• /
• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.42 no.2
• /
• pp.360-378
• /
• 2018

Noeui was a garment used for women's outfits and robes. In the late Joseon Dynasty it was a special garment that could only be worn by the class belonging to the royal family. Noeui was especially prepared as a wedding dress, and was worn by the bride at the Chinyeong ceremony on the day of the wedding ceremony. Until now, Noeui did not have in depth research at the costume history despite its importance as a royal costume in the Joseon Dynasty. Thus, based on Uigwe for the Royal Wedding Ceremony of King Injo and Queen Jangryeol (which is the only material with a diagram of Noeui and its pattern) this study historically investigated and restored the Noeui set of Queen Jangryeol, which was arranged in 1638, when King Injo and Queen Jangryeol were married. This academic study is the first to historically confirm and restore Queen Noeui's set, and rigorously analyze the historical materials as well as provide new comments on the shapes of Noeui's Git and the front side.

• Journal of the Korean Society of Costume
• /
• v.58 no.3
• /
• pp.149-162
• /
• 2008

The Regular rule of Sang-uiwon served as a manual of Royal Attires. According to the procedures, like as making letters about the affairs, consulting, and permission, Royal ceremonial attire was made and presented to the royal family. The materials for the Royal informal dress were presented in accordance with usual tributes. There was no difference in informal dress between the royal family and noble class. But the name of items was different such as Goa du[man's jacket], Go ui[woman's jacket], etc. The royal family continued to wear old days dress as akjurm and noui, which were not worn by common people any more, as a means of differentiating clothes. Bub-bok, which was designed only for key figures of the royal family such as the king, crown prince, queen, and crown princess, was the best status symbol. Because of its highly limited example of wearing, bub-bok was the authority of the wearer itself; with only difference in color, pattern, and material depending on social status. Yong-po is the most frequently worn by the Royal men. Yong-po worn with jong-lip served as yung-bok or gun-bok, and iksun-gwan functioned as sang-bok. Royal Attire for men was clearly divided into Yong-po as sang-bok, bub-bok as myun-bok and gangsa-po, while jeok-ui for women functioned as both sang-bok and bub-bok. However, the use of jeok-ui was defined by differentiate sang-bok from bub-bok like as the pattern of Hyung-bae, number of embroidered round badges, shoes and ornaments.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.15 no.1
• /
• pp.139-153
• /
• 2013

The purpose of this study was to consider the kinds and features of costume and fabrics of the early Koryo period which are mentioned in the records of costume system, royal presents and diplomatic articles at that time ranging from the reigns of king Gwangjong to king Gyeongjong and to king Seongjong. Findings of the study can be summarized as follows. In the 11th year of king Gwangjong's reign, the official costume system was established, which reflected the royal will to independence as an imperial nation. That system also became the basis of the official wage system in king Gyeongjong's reign. In the reigns of king Gwangjong and king Gyeongjong, the monarch granted official uniforms to persons who passed the state examination, directly connecting with new bureaucrats and strengthening the royal authority. Those uniforms were usually worn at a banquet where the monarch and subjects participate together in the early Koryo period. In the reign of king Seongjong, costume and fabrics were positive means of realizing political Confucianism as they were used for bureaucrats who advanced to official position through the state examination. Records issued at that time explain that the monarch presented costume and fabrics in an effort to getting along with officials and civilians of different classes as the state and the royal authority stabilized. Found in the records released in the reigns of king Gwangjong to king Seongjong, the kinds of costume or fabrics at that time include jikseongeuio, gap, yongeui, seupeui, gyegeum baekcheop, geumeunseon gyegeumpoyok and po. The techniques of manufacturing armors in the early Koryo period were probably advanced since the item was a craftwork presented to the court in the reigns of kings Gwangjong and Gyeongjong. Presumedly, baekcheop was a kind of hemp and po. Koryo's native hemp cloth.

• The Research Journal of the Costume Culture
• /
• v.21 no.5
• /
• pp.655-670
• /
• 2013

The purpose of this study is to identify the figurative characteristics and symbolic meanings of the patterns of royal families in the late Joseon Dynasty based on the theoretical examination as well as the overall characteristics of the colors based on the quantitative analysis of colors. This study focused on the costumes of King Young royal families in the late Joseon Dynasty which is the last costume of Joseon Dynasty and classified 129 relics under preservation for the analysis. This study analyzed the colors using the digital data in the picture brochure as the previous studies did and presented the color palette. Based on this, a variety of textile designs that are developed by using the traditional patterns and colors could be applied to the modern fashion designs. For Patterns used in costumes of King Young royal families, the five pattern categories include animals, plants, letters, and geometric patterns and the final category of other types. The features of color in the costume were v tone of Y color and lt and p tones of Y color. The implication of this study is to develop textile designs which reflects conversion of past and modern cultures and cultural identity by applying the traditional cultural elements through literature review and empirical study and theses developed 8 textile designs could be applied to the various modesrn fashion designs.

• The Research Journal of the Costume Culture
• /
• v.12 no.3
• /
• pp.455-467
• /
• 2004

The purpose of this study is reviewing and researching the symbolic meaning and classifying the types of the style of the Costume in classical novel 'Shimchungjun' focusing on the woman's costume through the antique records and tombs bequests. Titled ladies for royal family put on 'Wooimkyoryong' and 'Sungun' as a petticoat when the ladies of Song period rode on horses. The underskirt played a part to swell a skirt for ladies. 'Bakjueui' and 'Hwangsangi' were ordinary clothes ranging from ladies of loyal family to women. The red color was limited to royal family. The ordinary clothes of women were white ramie clothes commonly and floral patterned clothes were prohibited to the ordinary clothes for women. 'Ko', a breast-tie (breast ribbon) of a Korean coat, was made of silk and women wear as an outer garment. The common people will wear 'Ko' of white ramie clothes which was very active items. The ladies of royal family and women put on shoes made of white ramie clothes, but the full dress of queen wore blue boots made of leather. The noble women wore 'Suk'(boots) made of deer skin and common people wore straw shoes regardless of gender and age. Sometimes they wore 'Woopihye' made of cowhide. In the first of Koryo era, the styles of dress were consisted of 'Monso', 'Eui', 'Po', 'Dae', 'Koh', 'Sang', 'Sungkun' and 'Kangnang'. The structure of costume for women made little difference and there was a great difference with decoration.