• 패션비즈니스
• /
• 제6권1호
• /
• pp.71-82
• /
• 2002

The purpose of this study was to correctly understand the costume of Qing dynasty in the court painting. The starting point of this study was that the painting typically reflects the cultural values, social significations, costume and aesthetic outlook of that period when the paintings were done. Based on this regard, this study analyzed the costume of figure paintings in the court painting of the Qing dynasty that complied and edited by the Palace Museum. The court dress of Qing dynasty represented not only the spiritual world of Manchu tribes but also the influences of Chinese traditional culture. The court dresses of Kangxi and Qianloug showed definitely the luxury of life of Qing court. The everyday dress of Qing dynasty reflected the nomadic environments and it was very simple. The hunting dress of Qing dynasty was very developed and also represented horse riding and hunting activities of their traditional life. The ladies of Qing dynasty enjoyed to dress the costume of old Chinese style. The appearance of noble women was fragile and slim.

• Acta Via Serica
• /
• 제6권2호
• /
• pp.37-60
• /
• 2021

Before the tenth century, the dress of elite women in and around China often reflected "Han" Chinese fashions and preferences. In funerary paintings and relief sculptures of Sogdian and Xianbei couples from the sixth century, for example, women wear "Han" Chinese-style clothing. Even in the Tang dynasty (ca. 618-907), when exchange with Central Asia via overland Silk Road trade impacted the styles and patterning of elite dress and men incorporated clear Central Asian attributes into their dress, elite women in the Tang sphere wore recognizably Tang fashions. Chinese-style dress in these centuries clearly conveyed cultural import and, likely, political power, especially after the founding of the Tang dynasty. However, the straightforward borrowing of Tang women's dress shifted in the Khitan Liao dynasty (ca. 907-1125). The Liao, in contrast to other states that shared a border with China in previous centuries, saw themselves as political equals to the Song dynasty (ca. 960-1278) court in the south. The Liao court was interested in Song customs and culture and incorporated artistic motifs and practices from the Song court. However, the Liao courtly idiom was never fully subsumed into the greater world of the Song - rather, the Liao used facets of Song courtly culture for their own ends. One way this is manifested is through the dual administrative system, a bureaucratic organization that, among other things, regulated and distinguished between who was permitted to wear Khitan and non-Khitan dress. In this paper, I will examine the material evidence from funerary contexts for how the dress of elite Liao women both engaged with the dress of the Song, while also maintaining a certain amount of cultural autonomy. Through their dress, elite Liao women signaled clear messages about their status, identity, and difference to their Song counterparts.

• 복식
• /
• 제66권6호
• /
• pp.17-31
• /
• 2016

The purpose of this study is to perform historical reconstruction of the court dress coat in the Daehan Empire in order to make replicas of the artifacts. Following steps were undertaken in the study : literature research of the laws of the era, drawing of the design, embroidering gold work, and tailoring of the coat. Embroidering and tailoring experts were consulted to complete an accurate reconstruction of the dress court. The results of this study are as follows. First, Juimgwan's coat, which was the Court Costume Rule in 1905 was selected as an experimental coat. It was revision of the Court Costume Rule in 1900. The process of selection was based on the amount and easiness of embroidery. Second, the design of the back bodice, chevron, pockets and collar is reflected the pattern of the preceding research, which was analyzed from the laws, the drawing document[Gwanbokjandoan], and artifacts. Third, the gold work embroidery in the back bodice, chevron, pockets and collar was done. The embroidery material were composed of gold threads, such as rough purl, smooth purl, check purl, pearl purl, rococo, and spangle. Couching was used as an embroidery method. The coat was tailored after embroidering. The coat and the buttons were made after analyzing the artifacts. The result of this study can be utilized in the field of historical reconstruction of artifacts in the museum, the designing of stage costume in the performances of reenactment events, drama, and movie of Daehan Empire. Furthermore, this study is anticipated to contribute to the fundamental research of culture contents.

• 복식
• /
• 제1권
• /
• pp.101-117
• /
• 1977

This thesis is a study of the Simui(深衣) system which was a dress regulation peculiar to old China with skirt and coat. The origin of Simui is a very long time, that is, before Ju dynasty in China. Its wearing range had a large circle irrespective of rank and good or bad luck. This was a ordinary dress to the Emperor or the lords, a below court attire or a below sacrificial rites attire to the illustrious officials, and good luck dress to the common people. But this was a funeral rites attire or coming-of-age ceremony attire in domestic behaviour. In the times of Song dynasty, lots of confucian scholars had put on this simui because of Juhi's recommendation for domestic behaviour. This Simui had been put on through all the times of China and was the original text of all the dress. Especially the court attire and silkworm working dress of Empress, and the court attire and underwear court attire of Emperor is also made out of this Simui, therefore this is a origin of the ceremonial dress which formed into long coat. In Korea it is said that this Simui was brought in prior to the middle of Goryeo dynasty. But we can't tell the correct transmitted age. According to the following records in Goryeo History, "King had put on the Simui as a sacrificial rite attire in the times of Yejong". It is sure that this Simui was brought in prior to the times of Yejong. In fact, lots of confucian scholars had put on the Simui since the introduction of confucianism in the end of Goryeo dynasty and after that time this was taken by many confucian scholars through Yi dynasty. Korean Simui system was complied with Chinese system through confucian domestic behaviour, This was respected for court dress of confucian scholars, as it were, Chumri, (an ordinary dress of scholars), Nansam (a uniform of upper student), and Hakchangui (a uniform of confucian student). There are many deta about Simui system in the book of Yeki, chapter Okcho and Simui, and other many canfucian books. But we didn't demonstrate the theory about it till now. Especially there are diversifies of opinions about the phrase of "Sok Im Ku Byun" in Yeki. Simui was cut in separate and then was stitched together in one piece. Generally its shape had round sleeve and angled lapel, its length reaches to the anklebone. And it has a line around the lapel, the sleeve band, and the edge of skirt. It is called Simui because the body can be wrapped deeply in broad width and large sleeve. The Simui was made of white fine linen and was cut by the natural size of body. Every part of Simui had a profound meaning; the round sleeve in compliance with regulation can keep a courtesy when a walker moves his hands and the angled lapel like a carpenter's square in compliance with square keeps them front loosing their Justice and a string of the back also keeps them loosing from their righteousness and the flat lower part of Simui makes their heart and mind calm. This Simui was usually attendant on a head cover and belt made cloth, and black shoes. This thesis was made a study of documents and portrait from Yi dynasty, for the actual object was not obtained.

• 한국패션뷰티학회지
• /
• 제6권2호
• /
• pp.97-103
• /
• 2008

This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.

• 복식
• /
• 제29권
• /
• pp.171-182
• /
• 1996

This thesis is concerned with the study of the court attire the typical attire of the ju-dicial world in a point of time that more than 100 years have passed since the introduction of the modern judical system. In recognition of the fact that compiled data of the official uni-form or attire in Korea are insufficient this study placed its signification on the provision of information with focus on attire. As a result of studying court attire in Korea the conclusion was made as follows: Firstly Official attires in Yi Dynasty were divided by wearing embroidered insignia on the breast and the back of an official robe ac-cordint to court rank as well as by wearing Sa-mo in wadded clothes of Dan-ryeong and attaching all sorts of appurtenances including bands and shoes The Minister of Justice was equipped with Ho-pyo Dae-sa-heon equipped with Hae-chi the mayor of Seoul equipped with Un-an In the era of the Kng Young-jo the minister of Justice had no change in its of-ficial robe but the mayer(Pan-yun) of Seoul (Han-sung-bu) had Un-an(wild geese in clouds) changed into Un-hak In the King Ko-jog era the minister of Justice had Ho-pyo changed into Ssang-ho and the mayor of Seoul had Un-hak changed into Ssng-hak on embroideved insignia on the breast and back of an official robe. Laws and regulations concerning court attire began with the In-judgement Full-dress Uni-form Requlation for official-level Clerical Staff below the ordinary staff the Issue No. 14 of the Royal Ordinance in 1906 provided as $\ulcorner$the matter cincerning the Dress Regulation of the Tribunal staff of the Cho-sun Government-General$\lrcorner$the Issue No. 222 of the Royal Ordi-nance in 1911 and changed into$\ulcorner$the Regu-lation on the Dress of Judge Prosecutor At-torney and Law Count Clerk$\lrcorner$the Issue No. 12 of the Supreme Court Rule in 1953 affter the establishment of Korean Government since emancipation from the Japanese rule and into $\ulcorner$the Regulation concerning the Court Attire of Judge and law Court Clerical Staff$\lrcorner$the Issue No. 516 of the Supreme Court Rule in 1966. The judicial system in Korea is the system introduced from the foreign country rather than autogenously developed. And it came to pass through the Japanese colonial period it the beginning that it took root in Korea n was not stabilized in harmony with our native tradition. Accordingly the attare regulation in the judicial system took root in our society by accepting the Japanese attire regulation as it was and judical officials have come to wear the count attire similar to that of the Japanese imperialist era due to its influence though Korean independent goverment was established together with liberation form the Japanese rule. The more regrettable thing is that the current court attire has maintained the form greatly influenced by the U. S. court attire. Fortunately as the judicial circles have recently raised their voices for change in the court attire it has been told that the forma-tion of a meeting for a new court attire has been under way. The birth of the court attire into Which our tradition is sublimated is expected. This study end up with thinking that the must Korean thing is the most global thing in this era that people in the world are clamoring for globalization.

• 한국의류학회지
• /
• 제2권1호
• /
• pp.133-143
• /
• 1978

This study is a latter series of 'A Study on the Changes of Court Dresses in the Yi Dynasty' (see Journal of the Korean Society of Clothing and Textiles Vol. 1. No. 2. 1977), and tries to discuss the additional clothing style--- Hapee(하피), Mal(말), Sang(상), Daedae(대대), Pesle(폐슬) and Seock(석) as well as how to obtain the textile fabric used in queens' wedding ceremony and Noeyoe(노의) and Jangsam(장삼). Through Karedogam(가예도감), it can be found that as queen's casual dress gold-round-pattern Noeyoe(금원문노의) was used, and the royal princesses wore Dan Noeyoe(단노의). Noeyoe was long in back and short in front and it was very luxurious with the two-phoenix pattern. Jangsam was queens' casual dress, and the royal princesses wore simple and double Jangsam. In public, the wives of the officials above the 5th-Class in status wore Jangsam; Noeyoe is a higher-class dress than Jangsam.

• 복식
• /
• 제23권
• /
• pp.211-223
• /
• 1994

It was aimed to study the costume of Koryo dynasty based upon the one hundred and ten pictures of the writtened Budist scripture. The costume to study were made about 400 years during the King Mok-jong(1006) to the first year of the king Kong-yang based upon the Avatamaka Sutra and the Sutra of the Lotus. 가) Men's wear : 1. Hair style and hair dress : 1) Man bored a hair and put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots, and tied up with a hair ribbon. A kinds of hats were Tung-t'ien-kuan(Yuan-yu-kuan) and Chin-hien-kuan and as a court dress. The man wore pok-여 as an official uniform and wore a pok-du , kun-mo as an everyday dress and wore a helmet as a solidier's uniform. 2. Clothes : 1) They wore Yuan-yu-kuan and Chin-hien -kuan as a court dress, and wore belt, boots, pleated decorated ling skirt also. They wore round shape collor big sleeve jacket, small sleeve long coat, belt , boots as an official dress. 2) the soldiers wore helmet, scarf, yangdang-kap , hung-kap, bak-kap, we-yo-kap, kun-kap and jok-kap and carries arms. 3) The young boys bind his hair up one, two and three angle shape an tied up a hair ribbons. 나) Women's wear : 1. Hair Style and hair dress : high rank ladies made their hair top knot (one, two, or more knots) and tied with hair ribbons , and decorated with precious stone, pan shape head dress , wheel shape head dress. 2. Clothes ; 1) high rank ladie's wore kun -kyun attached jacket , and jacket sleeves decorated pleats and pleats decorated on skirt, apron, back apron, knot belt, scarf.

• 복식
• /
• 제31권
• /
• pp.47-60
• /
• 1997

As we analyzed the formalities of court dress during King Soonjo's rule through the characters depicted in $\boxDr$Wangseja Chulgungdo$\boxUl$(The Painting for a Crown Prince's Outgoing for Schooling to Sungkyunkwan) the results were as follows: People wore their appropriate full dress ac-cording to the ceremonial procedures. In the case of a Crown Prince normally the wore Gongjungchaek(a hat) (after the coming-of-age ceremony Iksunkwan) and Gonryongpo(imperial clothes) to show his status as a Crown Prince. He wore chugkumbok(a Coat) to indicate a Crown Prince as being a student. on an occasion of celebration a Crown Prince wore Wonyugwan and Gangsapo to provide him with prestige and as a sign of respect for the occasion. The teacher of a Crown Prince also wore Gongbok and Sangbok accoding to the dress requirements of the ceremonies. We can confirm that the Gongbok system of all government officials had been main-tained in the late Chosun dynasty. We know that the form of ceremonies be-came simplified in the late Chosun dynasty. it was recorded that students had to wear Chungkumbok. but we knew from the painting that students actually wore Dopo(a traditonal korean coat). We knew through this painting that the court dress rules of the late Chosun dynasty varied that previously known. As we concluded above research on the his-tory of costume by analyzing paintings both supplements our knowledge of the topic and confirms the deficiency in the study of the his-tory of costume based solely upon literature and books.

• 복식
• /
• 제42권
• /
• pp.69-90
• /
• 1999

Mannerism style evolved from the Renaissance style adopting the concept of grace as the ideal beauty, Having its ground on Neoplatonism the main goal of mannerism art was the realization of the invisible beauty over reality. Mannerism style in dress flourished in the sixteenth century court society, when courtly manners and courtly grace became the most important qualities in social relationship. Courtiers thought that courtly grace the ideal of beauty could be realized in the cultured and studied elegance. Mannerism style in dress evolved from the process of transforming and manipulating the Renaissance look for the abstract of beauty. The clothes of Mannerism style were against the natural movement of the human body. There was a tendency of refining and polishing the whole clothing and various technical skills were experim-ented on the mannerism style. The outstanding elements of this tendency can be found in the details like ruffs fathingale padding slashing puffing and etc. Mannerism intended to reconstruct the human body artificially to express courtly grace and novelty. During that process the new pose 'figura serpentinata' which is bizarre convoluted pose with full of flexibility was created. The expression of human body became more slender with elongated legs a torso with a long neck and a tiny head. This tendency of distorting the natural body forms were reflected in the formal characteristics of Mannerism dress style which is geometrical abstr-action unnatural elongation complex disposition and control with perfect ease.