• The Research Journal of the Costume Culture
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• v.12 no.5
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• pp.859-879
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• 2004

As a result of research, the characteristics of the general costumes from the king Young-Cho period to the king Jung-Cho period in Genre Paintings of Mung-Hyun Oho, Yong Yun, In-Sang Lee, Hee-Eon Kang follows. First, the typical man wore his hair in a topknot(sangtu), and put on 'Bung-gu-ji', 'Lip', or a scarf on his head. The length of the 'Jeogori'(Korean traditional jacket) was long enough to cover the waist. Dress for work had side slits, and had half length sleeve Jeogori, and short pants looked like 'Jam-bang-i'. They went barefoot and wore 'Jipsin'(Korean traditional straw shoes). Dress for outdoor was 'Po' that knot at front of chest by band. 'Baji'(slacks) were with knot below knee, worn 'Hang-jun'(ankle band) and the width of slacks was suitable. They were 'Beoseon'(Korean traditional socks) and shoes. Second those in the upperc1ass and those in the military put on 'Mang-geon', 'Gat', 'Sa-bang-gan', 'Tang-geon', 'Bok-geon' on their head on a topknot. Most of them wore 'So-chang-i', 'Jung-chi-mag' or 'Do-po'. The length of Jeogori covered the waist or the hip and were tied with 'Go-rum'(ribbon). Baji was tied with Hang-jun and 'Dae-nim'. The waist of the slacks were tied with a dark colored waist-band and folded down their waist of slacks. They wore white color Beoseon and 'Hye' or dark color leather shoes. They wore 'Sup'(assistant of arm) for bow. It showed the lifestyle of the 18C with fan, 'Be-ru', 'Mug', 'Yun-jug', teacup, pot, etc. Third, child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line, Git of Jeogori was 'Dunggurai-Kit'(shape of round) and other style Jeogori, which reached the hip line, had side-slit. Baji was tied with Dae-nim, and the width of the slacks is suitable. They hang 'Yum-nang'(Pocket). Final, most women worked outdoors wearing their hair in a high twisted style, or covered it with scarf. They wore Jeogori and 'Chima'(Korean traditional skirts), Bagi. They folded up the sleeves of the Jeogori. And they folded the 'Jambang-i-styled' pants to just above the knees, fastening at the waist. When they wore skirts, they also wore underpants under the skirt that went down to the knees. Most of them went barefoot and wore straw shoes, Jipsin. Through genre paintings, we can understand the ways and forms of our ancestor's clothing. And with our understanding, interest, and passion, we can be familiar with Hanbok in our daily life by succeeding and creating its peculiar style. And then we can promote the globalization of Hanbok.

• The Research Journal of the Costume Culture
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• v.24 no.6
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• pp.839-853
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• 2016

This study proposes that Malevich's 1913 performance "Victory Over the Sun" was not just Cubo Futurism, but that it produced Suprematism in the early 20th century. "Victory Over the Sun" did away with traditional set and costume design and a call to the Russian avant garde. Therefore, this study analyzes the characteristics of set and the costume design in "Victory Over the Sun", and considers how it impacted twenty-first century fashion designers like Margiela. The results of the study are as follows: first, Margiela reinterpreted the characteristics of the costumes featured on "Victory Over the Sun" from a cubist perspective and represented geometric spatial structures and mechanical human images through changes in methods and materials. second, he designed costumes by applying to the set and costumes expressed black & white images on "Victory Over the Sun". and third, Margiela reinterpreted the warrior image using geometric forms and colors in a creative way. Contemporary fashion designers, including Margiela, express their artistic creativity through various representational and materials choices. They want to convey their subjective personality and emotional sensibility to the public by mixing and deforming existing arts like painting, sculpture, and crafts to create new images. Thus, the creative intentions of the latest fashion designers have expanded art of costume design, exemplifying the process by which art is evolves and is made new.

• Journal of the Korean Society of Costume
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• v.22
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• pp.159-176
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• 1994

This study's purpose is to find the ancient costume of the folk song's words on Dunhuang manuscripts in the background wass-carvings sculptures and several art works. Dunhuang had played the part of major route between ancient China and Europe. It is located on kam-suksong the west of China. 1. In the aspect of costume arrangement hair Styling is represented by Naegagyo, Wangyesa, Kyongburak, Bonkwyun, Pogurak, Chonsonja, Namgaja, Tongson-ga, Ojesa, Chanboja in Dunhuang manuscripts. tugue is sim-ilar to Sabyokkwanja in Naegagyo as of that time these kinds of Kwan-ja was very popular. It was told that emperor's wife concubine and maid of honor would wear kwnaja favorably. And the kinds of Tugeu is PuyongKwyunkye, Aangunkye, Chunkye from Kyuwanjon except Sangunkye, Ounkye in Dunhuangsa. 2. Jangdaegy is guoted from Kyuw-anjon -A series of the chinese history book-tells us about women's make-up . The narmes of make-up are Hongjang Unjan--g, Yiljang chwejang, Tam-ajang Murgjang, Sanagjang, Light-make up are referred in Naegagyo is included as packjang Besides we can find other make-up skills Huphwaro and Rujang from the Kaewonch onbon-wisa which was Yangkwibi's episodes. We can find the a corpus of song's words about cosmetic custom in Kor-ea. Which is 'Haecho' folk song in the souther-en costal regions 'Jinggum' folk song in Kim-hae regions and so on.... It's words is similar to Dunhuangsa in China. 3. Bichun inherited to China with India Bud-dism art in the middle of Dunhuang wall-pain-tings is one of the important Buddist saint. Sometimes it is painted with Giakchun Its arms of fly-dnacing in heaven with colored belt on body has almost the form of play on the musical instrument, We can see seasily the form in the painting of Buddist ser-mon. It was progressed and changed with the background of chinese traditional culture. When Dang's period came the color was chan-ged lighting dark blue has rhythmical and viv-id power of life. 4. Among the corpus of song's words which express the singers' system and rites of their tradition or habits. Dunhuang manuscripts des-cribes on behalf of the folk song's words in tra-ditional costume. This is following: (1) Naegagyo o sabyokwanja o Chyrasam o Rashang (2) Wangyesa o Sokryugun o Costume for fisher man (3) Bungajang of the chanboja o Ajang (4) Pongkwyun o Chongui (5) Tongsongs o Junofore (6) Namgaja o thin-Rasam (7) Yuchungnang o Hongsam o Sokryugun : The color of red costume (8) Kyongburak o Hongrasam o Sokryugun : Costume for charming woman Therefore traditional costume could be extracted according to the Dunhuang folk song's words out of culture such as learning rit-es three-obedience four-virtues and in-struction. As the same time it reflects ancient China's characteristics directly. I would endeavor to development for the history of the costume furher creative design and participat-ed in research activity with concerns forward continuously.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• Journal of the Korean Society of Costume
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• v.41
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• pp.95-105
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• 1998

SOO-BAL(Hair Style) is a method Which match hair style to face and clothes with using hair covering and protecting the head. Also SOO-BAL includes personal ornaments using to avoid one's hair be disheveled. In a standpoint of beauty and spirit, etiquette SOO-BAL is a very important thing as one being dressed up. Until now, since just a form of hair style have been studied, hair styling process is nothing to be known and studied. Time after time, our unique traditional SOO-BAL is forgotten with clothes and then this th-esis will be classified hair styling form follow-ing a form of hair style in royal palace of the C-hosun dynasty. According to the record of HAE DONG HISTORY, it shows the same of attire between Ko-rean and chinese style in ae of the chosun. The reason in that there were no any certain boundary border and the interaction of culture between two countries was happened spontaneously at ancient time like the GOCHO-SUN age. Until the period of the three states, the korean attire be changed had gone with chinese one s-imilarly. The chinese form gave to influence on the EONJIN MEURI·POON-GI-MYEONG MEURI·JJO-CJIN MEURI·MOOK-EUN GOONG-BAL MEURI·OL-LIN MEURI·SSANGSANG-TU ME-URI be drawn wall painting in the KOKUR-YU. And a gold chignon accesso-ry unearthed in a MOO-RYOUNG royal mausoleum is proof of the korean attrire be changed with chinese. In the shilla dynasty at three years after Cjin-Deuk(A.D. 649) reign. It was recorded that the dynasty let women wear the form of chinese attire. Also in the koryo dyn-asty, a rod-like hairpin (BIN-YEU) and DANG-GI employing EON-JIN MEURI was used. The SOO-BAL based on the Confucianism had lots of regulations which limited to use ornaments with classes of society in the CHOSUN dynasty. Until YOUNG CHO and CHUNG CHO period. EONJIN MEURI be decorated GACHAE was announced by dynasty as ind-ulging in luxury. Women of yangban used a rod-like hairpin and a chignon accessory made by jewerly. And 1-owly women weared a rod-like hairpin made of born and wood to perfom EONJIN MEURI with PUNCHAE. Most unmarried women decorated with DDA-AH-NEULIN MEURI, GUI-MIT MEURI, specially in palace with SAE-ANG MEURI. At palace, one put on a full dress with KEUN MEURI, and a simple dress with ER-YEO MEURI be decorated DDERL-JAM The CHOP-JI MEURI manifested social rank, class. Kids at CHO-SUN age had BA-DUK-PANMEURI and JONG-JONG MEURI. The ornament things are GACHE, DDERL JAM with EON-JIN M-EURI, and all kinds of rod-like hairpin and chignon accessory used in JJOK MEURI. IN DANGGE, JE-BI-BURI DANGGI used by ummarried women. DO-TOO-RAK DANGGI and AP DANGGI on a dress suit, and BE-SSI DANGGI used by 3∼4 years ungrown kids etc. were used. And at palace, kinds of CHUPJI used with JJOK MEURI showed social rank. In CHOSUN age, women want to keep shiny hair washed at TA-NO festival day, a treatment of bald hair used a forked remedy. In CHOSUN age, woman Soo-Bal hair style has DAE-SOO·DDEU-KOO-JI MEURI·CHO-P-GI MEURI·EON-JIN MEURI·SAE-ANG MEURI· and so on. We could find out Soo-Bal was developed very well by these variety hair styles. I attatched all of the hair style pictures step by step, and also explained detail my research foll owing these pictures.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.14-25
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• 2016

This study aims to investigate what flowering plant Jeongjo loved, the attitudes and the reasons, and their implications. The study method was to investigate the contents and meaning in the historical records and to describe their interpretation. Jeongjo's life was consistent with very abstinent life style. His food, clothing and shelter were simple, and he did not show the interests in music, various arts and craft, women, and so on. He did not even show his interest in the flowers and plants of fairyland, beautiful flowers and plants. Jeongjo knew various kinds of flowers, and he was proficient in artistic expressions such as literature or painting with flower material. Due to this kind of attitude, there were few cases to demonstrate his taste on the specific flowering plant. The only one that Jeongjo revealed as his favorite flower was the pomegranate. However, the pomegranate was not the simple flowering plant as the subject of enjoying to Jeongjo. The pomegranate has the meaning of indicator plant to indicate the season of rice farming. Therefore, he made it to be the intermediary to indicate the farming season, which counted a few. Besides, Jeongjo who was threatened by the trials of assassination to him in his early throne period utilized 5,600 pomegranate flowerpots as the barricade of his shelter by arraying them with the type of stone piles in $B{\bar{a}}zh{\grave{e}}nt{\acute{u}}$(八陣圖). The use of Jeongjo's pomegranate flowerpots was not related to the visual utilization like ornament at all, which was very unique case. From multiple records, it was found that the pomegranate was the flower to be with Jeongjo in his period of reign. It is remarkable that the reason why Jeongjo kept pomegranate for a long time like this had the difference from enjoying practice on the ordinary flowering plant. This study has the limitation to be conducted depending on the Korean translated data. Further studies are required according to the translation performance of new historical records.