• 복식
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• 제32권
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• pp.101-116
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• 1997

The purpose of this study is to survey the system of the Korean Shaman's costume and its formative character and to find out the symbolic meaning of it. This study focuses on a shaman's costume in Seoul-Gut Seoul-Gut belongs to 'Gangsin-mu' Therefore a shaman's costumes in Seoul-Gut remains even today. Korean shamanistic ritual is gut. Its basic structure generally consists of 12 'Geori(a process is made up Gut)' In Gangsin-mu a shaman changes his/her spirit's costumes in each Geori so that a shaman's costumes means the spirit. The shaman's costumes of 12-Geori in Seoul-Gut has only 5 or 6 kinds be-cause shamans wear the same costume when the spirit's characters are similar with each other. Therefore shaman's costumes in Seoul-Gut are consistsof Poungsangbok pulsajang-sam cjulik Kugunbok Monduri and Wonsam There are some differences between modern shaman's costumes in Seoul-Gut and traditional costume in the basic pattern and the wearing method,. Modern shaman's costumes in Seoul-Gut has become simpler in the basic pattern and more gergeous in the color or adornment and more various in the kinds of shaman's costume than that of Yi Dynasty. This tendency in modern shaman's costumes reflects modernized folk's viewpoint in dress. which thinks highly of their individuality and function and variety in it. Korean shaman's costumes means the extintion of the earthly world and symbolizes the holy symbolizes the holy symbolizes the spirits character, Ying Yang Theory and represents shaman's wishes. The wishes are the desire of prefection and stability in this world the desire of ideal love and rebirth and the desire of lofty life in this world.

• 복식
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• 제59권6호
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• pp.118-125
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• 2009

Goryeong Jeesandong tombs No.73 from the 5th century located in Gyeongsangbookdo is the most representative remains of the Daegaya. They were excavated and examined by the Daedong Research Center for Cultural Properties. In this study, the textiles in the Goryeong Jeesandong tomb No.73 is identified and their features are examined through scientific analysis. Due to the fact that the remains were not treated for preservation, we were able to observe many samples under the microscope. Within the hemp textiles both hemp and ramie were made using s-twist threads and the thread count distribution is calculated to be 8.0${\sim}$20.0/$cm^2$. Among the silk, the taffeta was categorized into five types. First, there was plain woven silk which the thickness of the warp and the weft is the same and their rate of threadcount was the same. The second type was thin tabby which is spacious between threads. The third kind was woven by warp and weft which had very different thickness. The fourth type used two threads for each warp. The fifth kind used two threads for the warp threads and used thick threads for the weft for a modified plain weave, and it is the first of its kind to be found. Also, there was a compound weave with warp-faced compound weave among silk.

• 복식
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• 제57권3호
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• pp.165-175
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• 2007

Religion affects all the dimension of human beings, and at the same time it forms one dimension of human beings. Costume Is considered as a result that reflects the phases of the time and the characteristics of a wearer. Costume, also, has been influenced by religion that has led one's belief, social spirit and culture for a long period of time. The Eastern aesthetics has expanded the area of thoughts with the concepts that originated from Buddhism, Taoism, and Confucianism. Among the concepts, Non-Dualistic Theory is the core idea of Buddhism.'rho theory contains the moaning that one should not lean to one side between existence and nonexistence and should not be obsessed with the center. It was the most powerful Buddhistic idea that had an influence on Asian aesthetics. Korean traditional costume is not an exception. This study has a significance that it was conducted to understand the relation between religious principle and traditional custom through mainly using documentary records. The formative characteristics of Korean traditional costume influenced by Non-Dualistic Theory ran be summarized as non-structure like, indeterminate forms, amorphousness and anti-decoration such as plainness, temperance and achromatic color. Aesthetic value was expressed through 'the aesthetic of emptiness', 'the aesthetic of hiding', and 'the aesthetic of nature'. Although the appearance of a religious symbol can change, an essential element in religion lasts as human society remains. Although our clothing culture has converted to western style, Korean traditional aesthetics is placed deep inside of 'the Koreans' spirit and has a consistent effect on our overall culture of clothing.

• 복식
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• 제58권7호
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• pp.60-75
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• 2008

A history of Chinese Costume is that of the accept and the struggle between the 'Shen- Yi' of Han(漢) race and 'Ho-Bok' of foreign races. There are the 'Shen-Yi Ko' and the 'Ho-Bok Ko' in their representative documentary. They are quite significant materials for the researchers of the Oriental costume. The purpose of this study about comparing and analyzing the 'Shen-Yi Ko' and the 'Ho-Bok Ko' give a guidance to Chinese costume's researchers. The results of study are as follows: The 'Shen-Yi', having made a dress joined an upper to the low clothing together(上衣下裳) and deeply covered the parts of all the bodies, was named, had appeared the Spring-Autumn & warring state period(春秋戰國時代) and later the former Han Dynasty(前漢). Not only everyone in spite of men and women, without distinction of rank, high and low alike but also even the court dress(朝服) and from latter Han Dynasty(後漢) only the housewives could have worn it. The 'Shen- Yi Ko' disappeared its records and remains and at present nothing leave behind. The 'Ho-Bok' is a costume of the nomadic horse-riding people among the foreign races, then influenced upon the Chinese costume. The style of the Chinese costume consists of 'Yi Sang'(衣裳) and the 'Ho-bok' of foreign races, 'Yi Ko'(衣袴). The 'Yi Ko'((衣袴), derived from the King Muryoung of Cho Dynasty, had greatly been changed the chinese men's clothing and After that 'Ko Sup'(袴褶). The Chinese have enjoyably and familiarly the accepted 'Ho Bok' for a long time.

• 한국산학기술학회논문지
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• 제12권9호
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• pp.3815-3826
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• 2011

본 연구는 아직 잘 알려지지 않은 고려말 조선초의 상류층 여성복식을 고증하여 구체관절인형의상 세트를 시험제작하고 한국 문화상품의 아름다움을 알리기 위한 것이다. 고려말 조선초의 상류층 여성복식은 풍성한 실루엣, 원과 명 복식과의 융합, 옛 고려풍의 부활, 발달한 모시 직조기술, 불교문화 복식이라는 특성을 가진다. 13-14C의 문헌과 유물과 회화를 통한 연구자의 고증과 패턴제작 과정을 거쳐 총 8점의 아이템이 외주제작되었다. 각 아이템은 세트로 구성되었으나 소비자가 단품으로 선택할 수 있으며 다양한 조합이 가능하다. 인체와 특성이 다른 구체관절인형의 바디로 인해 부분적으로 다아트와 작은 고름이 첨가되고 강직한 직물이 사용되었다. 이후로는 기성품 생산을 위한 업체 시스템 개발 연구가 필요하다.

• 복식
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• 제61권3호
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• pp.122-138
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• 2011

The present research aims to consider the real remains of 2 suits of Kasaya owned by the Hwaeom Temple(華嚴寺) based on research results about Kasaya in the meanwhile. The present research on 2 suits of remains which are Royal gifts given to monk soldiers in case of a national crisis of the Joseon Dynasty has a big meaning in examining characteristics of Kasaya and grasping characteristics and structure of the 17th century's Kasaya of the Joseon Dynasty through dense survey and analysis according to components. If examining characteristics of Kasaya, the Kasaya of the Great Monk Seo San(西山) is composed on the basis of an initial form of Sun and Moon Light Patch's generation and the Kasaya of the Great Monk Byeok Am(碧巖) has a form that is separately attached through production of embroidery patch as a process of being settled down. If examining what surrounds gold thread in the girth and expression of Sumeru and Chaeunmun(彩雲紋), the composition of a form similar to an insignia badge, so because this is a Royal gift, this can be estimated as being analyzed in a Buddhism aspect by devising a design from the insignia badge at the time, with a meaning like an official uniform given to a monk. Although the insignia badge is a square, it seems that the Sun and Moon Light Patch is made as a rectangular form corresponding to the structure of Kasaya. In addition, it is thought that what the Samjoko(三足烏) idea which is a symbol of the Sun based on Buddhism and Taoism is used together with Yijoko(二足烏) even in expression of the Sun and Moon Light Patch in the Joseon Dynasty which was a Confucian country has a relationship with what a bird was expressed in the insignia badge of winged animals.

• 복식문화연구
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• 제13권2호
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• pp.269-279
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• 2005

Okso, Keun Seob($1671\sim1759$) was descended from a noble family of Noreun(노론) and learned from his uncle, Keun Sang-ha who is a disciple of Song Si-Yeol, Kim Chang-hyeub and Kim Chang-heub. His $\lceil$Oksoko$\rfloor$ remains in the form of a transcription or a lithographic printing, and documents on 'Hakchangeui' are recorded in jabeui(잡의), Euijedogi(의제도기), which is a part of it. He left Seoul in 1714, settled in Chungpung, journeyed to many places, including the Hwang river area and Jecheon and led a literary and artistic life as Sadaebu(사대부), which was written in a collection of his works where the record about 'Hakchangeui', the most suitable clothes for the life of a retired scholar remains today to express one part of his life. This study introduces data about Hakchangeui written in $\lceil$Oksoko$\rfloor$, pursues the reason why Okso, Keun Seob told about it and intends to embody the figure of Hakchangeui based on the system, measure, material, and sewing method according to the records in a collection. Hakchaneui described in $\lceil$Oksoko$\rfloor$ reveals a structure that is different from old Hakchaneui, showing characteristics like the following. It is a Sadaebu's costume for field amusement in which the length of a former part is longer than that of a later part and the side seam of a garment rips. Black Yeon is attached to the white texture. Yeon widths of Git(collar), Sugu and Gil are varied, respectively. Yeon's figure attached to Gil and Somaejindong is a mountain. Git is Bangryeong and link parts between Git and Gil is connected with Sangchim. This Hakchangeui is considered to playas a gown because it has no string or support to adjust his dress. Especially we can identify that Hwayanggun(화양건) was used in this Hakchangeui.

• 한국의류산업학회지
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• 제6권5호
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• pp.565-574
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• 2004

The purpose of this study is to investigate the historical background and basic composition of costume of the Baekje period. Main official hats of Baekje include the transformed hat, jougwan and daeryun-style ipsikgwan. Daeryun-style ipsikgwan employed chowha shape in most cases, symbolizing good auspice under the harmony of the male and female principles. Main types of costume of the Baekje period are po, yu, go and sang. The king, governmental officials and the common people all put on po of jikryeong gyoim style. Yu' is classified into two styles, chaksu with the narrow sleeve and daesu with the broad one. 'Go' has two styles, gunggo and gwango. The former is narrow in the breadth of the trouser and the latter, wide. 'Sang' is classified into various style according to whether it contains stripes of many colors, thin wrinkles or thick wrinkles. For the decoration of official hat used in the period of the Three Kingdoms, Baekje employed chowha in shape, Kokuryo, chowha and joik and Shilla, joik. In Baekje, rhythmic patterns of flame were applied to official hats, presenting brilliance. In Shilla, shaking geumyeongrak was used for official hats to show movement. In Kokuryo, such hats used flapping feathers, symbolizing dynamic power. Most necklaces and bracelets of the Baekje period were simple and plain.

• 복식
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• 제27권
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• pp.163-171
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• 1996

As the current stage of the fashion begins to follow the styles of the past the study on he past costume is getting more importance and as the methodology of the study the accurately ap-proached study through the rehabilitation of the past costume is more needed than the simple re-arrangement of the historical documents. By this methodology this study can be positioned as a re-creation activity. The results of the study are as follows. 1) Style: The S-line silhouette remains be-cause of the straight silhouette or the blossom style bodice. This dress has various types of sil-houette but generally it forms one silhouette and is one-piece. 2) color and Material: The material varies hile the color is divided as the main color of ivory and the stress color of brown. This shows not only that the material has been varied but also that they tried to reduce the monotony. 3) Pattern and Sewing: The simple external figure and the previous stage typically shows the movement to the simplicity of the contemporary and the num-ber of patterens is plenty and the sewing method is also complex. 4) Detail. To overcome the simplicity of the style and to show the characteristics of the afternoon dress the skunk fur the net the sash, and the bow are used. 5) Structural Characteristics: The front open-ing the back opening and the side opening coexists in one-pieced dress and this forms unique structure and complex fastening device. The ribbon tape and casing not only finish the seam but also fix the shape of the dress. Synthetically the 1913-14 afternoon dress has the characteristics of transitional stage in which the characteristics of the costume of 1910s and the remnants of the characteristics of the pre-vious costume style and shows the character-istics of afternoon dress well in terms of the ma-terial the structure and the detail.

• 복식
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• 제28권
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• pp.213-223
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• 1996

Woolen fabrics were manufactured in Korea since the early prehistoric period and were manufactured and used from the period of the three Kingoms and Koryo through the Chosonera. These materials were developed in to woolen fabrics through a tradition of thou-sand years. In Korea the Orient Culture of no-madic tribes and Mesopotamia Culture of stock-farming come together and developed these original woolen fabrics cultures. During the Chosen period woolen goods were frequently manufactured and used. Those re-mains consist of various hats and shoes made up of felt. And the remains which of a kind of woolen fabrics were made from the wool materials. There were various stock farms and supplies a woolen craftsman needed the wool materials. There were various stock farms and supplies a woolen craftsman needed the wool materials. And there were especial woolen goods shops as Choung Po Joun.