• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.802-812
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• 2006

The purpose of this study is to investigate effects of natural incense on the preservation of paper- and textile-based remains and the kinds and applications of natural anti-insect incense by reviewing relevant literatures of the ancient times. There are few ancient literatures of incense published in Korea. The researcher deducted how incense was used in this nation through reviewing verses contained in ancient literatures and medical books. In contrast, the kinds and applications of anti-insect incense used in China, where incense culture prospered, were investigated here through reviewing technical books about incense published during the Song(宋) and Ming(明) periods, $\ll$Incense record(香譜)$\gg$, $\ll$Chen's Incense record(陳氏香譜)$\gg$ and $\ll$Incense record(香乘)$\gg$. There were several methods of keeping clothes better from insects. In relation, how to use anti-insect incense varied in accordance with main materials of clothes, paper, textile, leather and others. Cymbopogon dstans(芸香), Brassica rapu var and Incarvillea sinensis(角蒿) are anti-insect incense which were used for paper. Anti-insect incense for textiles is classified into single and mixed incenses depending on whether only one kind of incense was used or more than seven kinds of the substance. Acori rhizoma(菖蒲), Capsella bursa-pastoris(薺菜花), Lactuca sativa L., Erigeron canadensis(莽草), Stemona japonica(百部) and Moschus sifanicus(麝香) are single anti-insect incense which were used for textile. While, the latter was called. ‘Yi Xiang(衣香)’ is mixed anti-insect incense which was used for textile. Artemisia asiatica(艾葉) and Zanthoxylum schinifolium(花椒) are anti-insect incense which were used for leather. Angelica dahurica(芳香) and Bamboo are anti-insect incense which were used for others. There were three main methods of using incense to prevent insects, that is, diffusing incense's strong scent and ingredients, exposing to smokes from burnt incense and washing with incense-boiled water. Diffusing incenses had a strong scent and antibiotic ingredients, which were put between books or clothes or into a storage box without being processed. If necessary, however, they were processed into rough powders that were in turn used singly, or otherwise mixed for a stronger scent and better insect elimination. Exposing to smokes from burnt incense was done as follows. A clothes was put on 'Long(籠)' underneath which there was a boiling water. The clothes was humidified by the water and then exposed to smokes from burnt incense. 'Long(籠)' had been long used since it was manufactured in the QinHan(秦漢) period for the first time. A local literature, $\ll$Koryo TuGing(高麗圖經)$\gg$ shows that in the Koryo(高麗) period, BoShaLu(博山爐) were used as a means of exposing clothes to smokes to prevent moths, similarly to China. Washing clothes with incense-boiled water was more effective in removing lots of worms and germs from clothes, but leaving the scent and ingredients of the used incense and maintaining the effect of anti-insect.

• The Research Journal of the Costume Culture
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• v.12 no.6 s.53
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• pp.1060-1069
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• 2004

We can study and judge the costumes of the Three Kingdom period through an ancient tomb murals and various burial mound(clay) figures, however, it is quite difficult to search for costumes of the Goryeo period ($960{\sim}1392$), because dresses from this era were rarely found, related antiquities are limited and hard to survive. This is the reason why people say that the Goryeo Dynasty is the period of undiscovered era for its history of costumes in Korea. Fortunately, these days, there are various kinds of buddhist statues discovered with its burial accessories such as costumes and dyed fabrics of the Goryeo era. Through these, we can glimpse through the Goryeo cloths and develop our researches on this field. In addition, a man called Seo Geung(서긍, the Chinese scholar Xu Jing) wrote a book in the 12th century about peoples lives in Goryeo and in this book, there are few documents about the people's costumes which help us to understand the period's traditional dresses. In this paper, we will look for the traditional costumes which were formed and developed through people's lives in Goryeo, using remains from various burial accessories in buddhist statues as well as the documents related to the costumes written in ${\ll}$Goryeosa 고려사${\gg}$. Moreover, costumes of a period usually developed and influenced by the atmosphere of people's lives both economically and mentally, therefore, in this study, we will especially focus on the dresses of the bureaucratic officials and their wives, who led comfortable lives and latitude of mind. Through the records, like Silla, Goryeo exported Sehjeo(세저) and Sehjoongmapo(세중마포) to China. And we found out that Silla's skillful weaving techniques of hemp and ramie cloths were succeeded to Goryeo. According to above facts, Goryeo people made clothes with various kinds of fabrics such as, different sorts of silks, ramie, hemp cloths and cottons. They also have very skillful manufacturing techniques for certain textiles. Their official robes were generally influenced by Tang and Song Dynasty, but, like ordinary people, we found out that the government officials also wore baji(pants) and a jeogor(jacket), which were traditional costumes since the Unified Silla Kingdom with various coats. Especially, women's costumes such as jeoksam(unlined summer jacket) and hansam(한삼), which are sort of jeogori(jacket), baji(pants) and chima(skirts) were made of various kinds of silks and ramie cloths, that were generated from the Goguryeo Kingdom, with jikryeongpo(a long jacket and striped skirt).

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.141-148
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• 2007

As Backje(B.C. 18-A.D. 600) is the whole area of Chungcheong, Jeonra, Kangwon and Gyeongsang provinces, the son of the founder of Goguryeo, King Onjoe, making the castle Wu'irae capital of the nation, founded Backje. The capital was transferred to Hansung by B.C. 5 and then to Gongju by A.D. 475. Backje governed the east of China and the northeastern coast. Due to the effect of Chinese culture there are remarkably Chinese cultural elements in dress and its ornament of Baekje. Therefore on the side of cultural part, the noble culture was formed more polished than that of Goguryeo, which affected the culture of dress and ornament. And also there were class differentiation noticeably. Baekje created splendid culture and affected the culture development of Shinra and Japan. The motive of culture creation could be the top of three countries in the foreign trade because there were geographically the widest vast plain and coastline which stretches out from north to south. Although there haven't been many materials about the cultural heritage and records more than other countries, through the modern visual point its design is fresh and more elegant those of other countries. But the fact is that there are few materials related to Baekje. What is worse, there rarely remains all original form and most of them are broken and lost. According1y, we cannot understand not only an original form of Baekje culture and but also the meaning included in it. It goes without saying that there are few materials about the clothes and fabrics. As understanding the culture of Baekje itself is insufficient, a culture enterprise utilizing it - to improve both the added value and economical achievement while combining the latest culture resources with other fields - hasn't been successful. In this study, the purpose is to improve economic power through commercialization and industrialization of the sources of the culture of Baekje. By reanalyzing a form and an image of Baekje relics, it is designed with new motif and modem preference on the condition of our peculiar cultural heritage. And while using this motif with Jacquard pattern, we made it possible to be applied to real life such as interior trinkets, etc.

• Journal of the Korean Society of Costume
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• v.31
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• pp.61-73
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• 1997

Kon-myuh was worn by the ancient Chinese and Korean rulers as ceremonial dress during special rituals such as worshipping heaven and ancestors marriage or funerals. kon-myun consists of two major parts-Myun and kon-bok (the main bodypiece) as well as other articles of clothing(skirt footgear etc), There were regulations set in ancient books describing in detail the make of the kon-myun number of ryu and symbol to be used all which applied to each ruler depending on rank and status. This study is aimed at examining the consistency of the korean and Chinese in following the regula-tions as seen in relics which have been recovered from the past. Based on historical findings it seems that Korean Kon-myun came to Korea from China during the Three Kingdoms period. It was also worn in the Koryo and Chosun Dynas-ties and the Taehan Empire. In studying Konmyun in Korea the researcher studied a book from the early Chosun dynasty, Kukjo-oryeuiseory and a book from the late Chosun Dynasty Kukjo-sangrye-bopyun to find the guidelines and rules applying to the Kon-myun tradition. Slight difference were found across time in the supplementary articles of clothing as seen in Uigwe Pokwan-doseols explanations and drawings of Kon-myun. The researcher used uigwes of funerals of kings of the Chosun Dynasty and observed change over this period of time. However there was a clear consist-ency: the king's Kon-myun consisted of 9ryu-myun 9chang-bok while that of the prince consisted of 8ryu-myun 7chang-bok. For the Taechan Empire the researcher used Tae-han Yae-jun which shows the emperor's kon-myun to have consisted of 12ryu-myun 12chang-bok. To study how the regulations were put into practice relics were uncovered from the periods being studied. A portrait of King Ik-Jong remnants from King Ko-jong's Kon-bok and a photograph of Emperor Sun-jong all were in close adherence to the regulations outlined in the books. In China Kon-myun was worn by emperors from the Han to the Ching Dynastices. The researcher investigated Kon-myun es-pecially in the Ming Dynasty. The Kon-myun regulations as read in Tai-ming-hui-chan changed through all four periods. To study the faithfulness of practice to low Ding-ling the tomb of Emperor Shin-jong who ruled during a period of the Ming Dynasty was unearthed and the remains of the Emperor's Kon-myun were analyzed. The Kon-myun consisted of 12ryu-myuh 18chang-bok and there were other differences I color symbols and wearing method when compared to the regulations. It can be concluded that the Chinese Kon-myun tradition was not in strict adher-ence to the regulations established by law books. This is in contrast to the Korean Kon-myun tradition which showed little devi-ation. Further study is needed to understand why there was this difference in tradition and ritual.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.137-151
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• 2012

In 1966, $Seokgatap$ pagoda in $Bulguksa$ temple was damaged by the tomb robbers and was dismantled to fix the damage. In the process, many offerings to Buddha and containers for Sarira(the cremated remains) were found in $Sarigong$(specially designated space for the Sarira casket) inside the second floor of the pagoda. Many fabrics like $Geum$, $Neung$(twill), $Rha$(complex gauze), silk tabby and linen were also excavated. In this study, $Geum$ fabric from the $Seokgatap$ was closely examined. $Geum$ of $seokgatap$ is weft-faced compound weave according to the analysis of its weaving pattern which was wrongly presumed as warp-faced compound weave for some time. Technical analysis of $Geum$: Main: silk, Binding: silk, Proportion: 1 main warp to 1 binding warp, Count: 15 main warps and 15 binding warps per centimeter, Weft: polychrome silk without apparent twist, Colors: yellow, mustard yellow, deep blue, green and purple, Weave: weft-faced compound twill, 1/2 S. $Geum$ of $Seokgatap$ was made in the $8^{th}$ century, since it was weaved in weft-faced compound weave twill which was popular in the $8-9^{th}$ century. And also, the arrangement of the colors was done in the same way of gradation $Geum$ silk which was popular in the $7-8^{th}$ C in China and Japan. Third, we restored the pattern of $Geum$ of the Unified Shilla Dynasty for the first time. It was very difficult to figure out the shape and the size of pattern since the fabric was partially lost and ruined. We tried to draw the diagram of structure with the cross point of the warp and the weft to restore the pattern. By doing so, we could identify two kinds of small flower pattern, palmette and the pattern of repeating vines. Fourth, we could infer that the $Geum$ of $Seokgatap$ was used for $geumdae$(a pouch made of $geum$) by analyzing all the documents and the characteristics of the fabric.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.107-122
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• 2012

The purpose of this study is to investigate the changes and developments that occurred as a result of the exchanges of gyeong-geum(經錦), a warp-faced compound weave of East Asia, and wie-geum(緯錦), a weft-faced compound weave of West Asia. In order to maximize the efficiency of this research, topics were narrowed down to the weaving skills and patterns, and the period was limited to the Tang dynasty. The systematic characteristics and differences of gyeong-geum and wie-geum were compared and contrasted through different works of literature. Then the excavated remains of geum-textiles were analyzed and the characteristics of the geum-textiles were defined in chronological order. The origin of wie-geum is traced back to the time when West Asia started to imitate the weaving style of the East Asian gyeong-geum. When combined with the weaving skills of the West Asian, gyeong-geum, which broke through the West and developed into the weft-faced compound twill silk, or samite. The exchange of geum-textiles took place as the techniques of gastric filament woven geum-textiles returned to the East. Along with the pearl roundel motifs of Sassanian Persia, mythical animals and western motifs of hunter patterns were used for the patterns of wie-geumin during the early Tang dynasty. This tendency is related to pa-sa-geum(波斯錦), ho-geum(胡錦), beon-geum(番錦) according to the recorded literature. The 8th and 9th century are periods when the West Asian Persian style was abandoned and the East Asian style, samite, was established. Not only did S twist silk threads replace Z twists, but also the repetition of patterns unfolded along with the weft and the warp. As this tendency was strengthened after the 9th century, the expression of patterns became more vividly colorful and showed both elements of naturalism and realism. The characteristics of the Bosangwha(寶相花) pattern in the Tang period were established with the rampantly repeated rosettes with birds often holding auspicious branches, that fly amid floral compositions.

• Journal of Conservation Science
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• v.29 no.1
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• pp.15-24
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• 2013

Chil-sa head-wear excavated in Buksandong of Ulsan is precious relic with historical, cultural, social and artistic values because it shows head-wear shape at the period of Goryeo dynasty with the invaluable worth in the field of Korean traditional costumes. Also, this excavated head-wear provides the empirical information about Goryeo dynasty which has relatively insufficient remains. The purposes of this study are to recover and maintain the original states of the artifacts from various environmental factors and then to preserve the materials from rapid decomposition. As a result, the original shape of the head-wear from Goryeo dynasty can be conserved and through the material and structure analysis it is found out that the head-wear's surface structure is composed of silk(紗) and the ground structure is made by bamboo(竹絲).

• Journal of the Korean Society of Costume
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• v.7
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• pp.5-19
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• 1983

Sacredotal robe(法服) means full court dress. We can't know about the shape of sacredotal robe before Dae-Han Empire(大韓帝國) since there are no remains of it. The study of sacredotal robe for queen have also been made centering around the socredotal robe granted from Ming(明) dynasty and the system of Juck-Eui(翟衣) in Dae-Han Empire. In this thesis I tried to study about the sacredotal robe for queen from King Gong-Min(恭愍王) of Koryeo(高麗) dynasty to the close the Cho-Sun(朝鮮) dynasty by investigating the Literature of Cho-sun Dynasty Chronicles(朝鮮王朝實錄), Ga Rae Do Gam Eui Gue(嘉禮都監儀軌), Sang Bang Jung Rae(尙方定例), Gook Hon Jung Rae(國婚定例), Sok-Orae Eui-Bo(續五禮儀補), and Dae Myung Whe Jeon(大明會典). The first documents on sacredotal robe for queen is regarded as that in the period of King Gong Min., which says that Chil Whee Gu Bong Gwan and Juck Eui of the 9th grade had been given from Ming dynasty. The sacredotal robe for queen in Chosun had been granted from Ming dynasty since the 3th years of King Tae-Jo(太祖) to the 3th years of King In-Jo(仁祖). They were Ju Chui Chil Juck Gwan, red Dae Sam(大衫), Bae Ja(褙子) embroidered with. pheasants on blue silk, and ivory flat baton (笏), which belonged to the court dress for the first class of court lady. When Qing(淸) dynasty succeeded to Ming dynasty, Cho-sun adopted the system of luck Eui which had it's origin in the system of Ming, denying to comply with Chung. But as a matter of fact, the system of sacredotal robe for queen actually used was one which were different from the dress system of Ming and converted into our national ways. In the latter period. of Cho-sun, the system of Bae Ja or Juck Eui were used together until the period of King Young Jo(英祖), and the system of Juck Eui which was written in Gook Hon Jung Rae was continually used from King Young Jo to the close of Cho-sun. It was composed of Juck Eui, Beol Eui(別衣), Nae Eui(內衣), Pe Sool(蔽膝), Dae Dae(大帶), HaPi, Sang(裳), Ok Dae(玉帶), Pae Ok(佩玉), Gue(圭), Mal(襪), Suk, and Myun sa(面紗), The headdress was used in our own ways, not complying with Juck Gwan(翟冠). The color of Juck Eui was red for queen, deep blue for the consort of the crown prince. The color of Juck Eui in DaHan Empire was deep blue, different from that of Juck Eui in Cho-sun. Bo(補) for queen wus embroidered with dragon with five claws and the one for the consort of crown prince with dragon with four claws. The back length of Juck Eui was longer than front about 28cm (1尺), and the front opening was straight down. 51 motifs of a brace of pheasants which were similiar to Bong(鳳) were embroidered on Juck Eui for queen. But we can't find out whether there 31 or 51 on Juck Eui for the consort of the crown prince. The system shows independant aspects, because there are Bo, Myun Sa, Sang, Ha Pi, Beol Eui, and Nae Eui which were not found in the system of Ming. As mentioned above, I have studied on the sacredotal robe for queen. But we can't guess the detail of sacredotal robe for queen, because there are no remains at all. Therefore I expect more study on this.

• Journal of the Korean Society of Costume
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• v.17
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• pp.29-43
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• 1991

Yu was a type of dress worn on the upper part of the body which was commonly used in Northeast Asia. It was originally used by the Northern race for the need of courtesy as well as protecting cold. It was believed that Yu in Northeast Asia, which was called Kaftan, was came from Scythai lived in North Eurasian land around the Black sea. Scythians were the first-formed horse-riding race in the world and their civilization influenced those of far Asiatic sector along the steppe route. As their power expanded, their costume culture transmitted to the East(China, Korea, Japan). The upper garment, Yu, was characterized by the left-sided collars, narrow sleeves belted at the waist to the length of the hip line and the tight trouser on the lower part, which we commonly called HoBok(胡服) style. 1. Yu in Northeast Asia was originated from the Eurasians, Scythian Culture. Being exchanged, active style costumes were widely used among Chinese, Koreans and Japanese throughout centuries' including $4{\sim}8$ century. 2. Chinese Yu had a style of wide-sleeves and right-sided collars. The traditional costumes of Han race are consisted of wide-sleeved Yu on the upper and long-skirt on the lower part of the body. Before the adoptation of HoBok during reign of King Jo Mooryung in 307. B.C., HoBok style had already found in the remains since the Sang period. There were various names among Yu during the Han period. Seup, Sean Eui, Kye, Kyu were one of the styles and several names were meant for collar and sleeves. During $4{\sim}8$ centuries, clothes of right-sided collar were found, superior to that of left-sided and narrow sleeves were widely used both the royal and the humble. Various styles of decoration were seen in Yu around neck, back and sleeves comparing other nations. 3. Yu, in Korea, was typical style of Northern-bound HoBok. Both men and women had similarity in Yu style, narrow sleeves, left-sided collar, belted at the waist and to the length of hip line. Influenced by Han race, in the $4th{\sim}8th$ centuries, dual system of collar was found. But we cannot see major change in Yu and finally was connected to the present. 4. The original design of the Japanese costumes was not similar to that of Northern nomadic hunting race, which was suitable for horse-riding activities. Owing to the climates along the island, we could see various conditions ranging from the cold and to the warm. Influenced by the climates, pulling over the neck(Pancho style) were major design in Japan. As Korea was advanced earlier than Japan, Korean landed Japanese territory showing clothes. So primitive costumes had changes in style. During the $4th{\sim}8th$ period. The Korean mode was found in Haniwa (which was built to make sacrifices to the dead King) and costumes in Jeong Chang Won. Among the costumes in Jeong Chang Won, we put 3 or more costumes to the category of Yu characterizing elements of Korea and Tang period. From the $4th{\sim}8th$ century, China, Korea, Japan fell into the same cultural category, Scythai. Styles in Yu among three nations, we saw little differences, basically along times. Originated from the West Asia, Yu was transmitted to the far East changing Chinese costumes, Koreans melted it into the traditional elements and then influenced Japan.

• Journal of Conservation Science
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• v.32 no.2
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• pp.141-154
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• 2016

The gilt-bronze decorated bamboo mudguards with heavenly horse design excavated in 1973 at Cheonma Tomb of Shilla are the unprecedented relics in Korean history as it has its original structure. Although the bamboo mudguards were excavated in not only Cheonma Tomb, but also in Geumgwanchong and Geumryeongchong, all of them remains into pieces. In addition, there are no exact data related with its structure and manufacturing technique. The report deals with the manufacturing technique of the bamboo mudguards with heavenly horse design excavated in Cheonma Tomb through the naked eye's observation, X-Ray Fluorescence, and Transmission X-rays analysis etc. Bamboo mudguards basically have the three divided structure with central-focus structure of a radiation style. And the mudguards consists of Bratticing gilt-bronze, fabric, and bamboo plates together, as ornamental fringe of 4 plates. The surface of the gilt bronze plates was decorated with a variety of workmanship and pendant. Bamboo plates have a waved pattern by using about three hundred bamboo bark. Two types of textiles were mainly found in the textile plates, and the leather were partially found. In order to combine all plates together, gilt-bronze bottonhead, pendant decoration, and ornamental fringe were used. It would be helpful to study bamboo mudguards during 5th-6th centuries in Shilla period and basis investigations of Geumgwanchong and Geumryeongchong excavations.