• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.57-72
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• 2006

Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. In the beginning, only foreigners danced these dances, but Chinese started to dance them gradually. Thus, the dancing costume showed the complete fusion of Chinese and exotic styles. Especially, in the Tang dynasty, Chinese accepted foreign culture very actively and with open hearts. They accepted foreign culture based on their traditional culture, and fused them completely. In these costumes, not one culture was prominent, but many cultures from Gandhara to East and West Turkistan and even to Persian and Hellenism were synthesized together. Chinese, in the Tang dynasty, retained on their traditional culture and modified new foreign culture into Chinese style.

• Journal of the Korean Society of Costume
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• v.49
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• pp.173-184
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• 1999

In the Tan dynasty it cultural style was very international and its culture actively absorbed other foreign culture. Moreover it was the time when the concept of barbarians(胡, hu) was applied widely and its culture got the tremendous influence from other foreign culture The influence from the barbarians were tremendous in Tang dynasty so that among the ten elements of the Sipbuak(十部樂) in Tang period only ChungSangAk(淸商樂, Qingshangyue) and YenAk(燕樂, Yenyue) were from their own Chinese culture(漢, Han). I wanted to discuss the influences of the Barbarians cultures on the dancing costumes in Tang period for it appeared to me that especially the dancing costume with the introduction of new foreign dances and their distinct styles in costumes would make a great impact on the dressing styles in Tang dynasty On the dancing costumes in tang dynasty we dan find the strong influences by the Barbarian style(胡風, hufeng), and even the authentic Chinese dressing styles of han period appear to be change quite a bit.

• Journal of the Korean Society of Costume
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• v.52 no.4
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• pp.111-123
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• 2002

The purpose of this study is to correctly understand the shaping process of Mongolian women's costumes, which had close connection with Korean costumes. 'Nomadic' factors of Mongol costumes are trousers and jacket, with deel(袍) pleated in the waistline for horse riding, and knee-covering narrow-sleeved long dress for men and women alike for protection against the cold. However, Married women wore bogthag(gogo: ) containing symbols derived from nomadic way of life. 'Foreign' factors are divided into two kinds; foreign culture applied to Mongolian costumes(woven stuff, Koryo style), and transformation in costumes to adjust to the environmental alteration owing to extended territory(pigap(比甲), Jacket and skirt), the last of which served as the chief distinction between nomadic and Y an fashions. 'Religious' factors are unique patterns and colors while retaining their symbolism. Some aspects(mongke tengri or eternal sky) of Shamanism is reflected in avoidance of washing, while positive effect of Lamanism is evidenced in yellow cosmetic applied on the forehead and 16 sky devil dance clothes.dance clothes.

• The Research Journal of the Costume Culture
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• v.19 no.1
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• pp.83-95
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• 2011

Today, a variety performance premiered in Korea, works of art as an advanced production planning and production system is becoming. Accordingly, the field of stage costume also increased collaboration with foreign producers and production systems and the advancement of the stage costume are required are becoming. The opening performance of the 30th anniversary of the Seoul Theater Festival was selected as Towol Theater Theater in 2009, April 16 to 26 of Picasso's women's costume is the study of production systems. This work directing and stage design by inviting domestic producers from foreign fields, and co-authored the work in the field of stage costumes in collaboration with foreign producers that are worth study and research work. In this study, this work has a practical study of costumes throughout the production system, an advanced stage costumes to contribute to the development of the field. The research methodology book data, collected papers, Internet resources through research and theoretical studies play 'Picasso's women's stage production of the award total to an empirical study was undertaken. The results of this study are as follows. First, the costume director for making a scholarly grasp of the direction of the investigation is ongoing throughout the process of creating the costumes. Second, foreign producers and co-author of the stage when the award, if other than purely domestic producers and create costumes to build production systems. Third, foreign producers and co-costume design and costume making coherent explanation for the processing of the list(Costume Breakdown List) are developed. Fourth, the actual performance over the director's intention to visualize the presentation was good enough, and the idea of the costume crew was taken to the director's idea of directing a play that reflected the will has a big meaning.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.131-141
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• 2005

The purpose of this study is to correctly understand the shapes and transformation of costumes of Ching's and Mongolian. Mongolian traditional costumes are trousers and jacket, with Deel(袍) and Terlig(帖裡) pleated in the waistline, and knee-covering narrow-sleeved long dress for men and women alike. It was designed for adapting to horse riding activities and cold steppe climate. Similarity between Ching's and Mongolian nomadic costumes was used as a means of unity by Ching. Transformation of Mongolian nomadic costumes are further divided into three kinds; Ching's or Russian's details applied to Mongolian nomadic costumes(Taekeum(大襟), Majesu(馬蹄袖), white choker), Ching's court costume imported as it is for the political purpose(Kijang(기장)), resistance against foreign countries and the spirit of nomadic people and independence reflected in Mongol costumes('Teregur ushi', 'Correct bosom'). Specially, Nomadic symbols constitute Mongolian spiritual world and clothing habits, especially evident in ladies' dresses.

• Journal of the Korean Society of Costume
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• v.30
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• pp.117-126
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• 1996

This paper is a study on the shaman's costumes which were observed in the ritual of Jae-Soo-Kut held in Seoul. In this study the forms and functions of the shaman's costumes in Jae-Soo-Kut are compared with those of other Korean traditional costumes and differences are identified between them. The results of this study are also compaed with those of the study on the shaman's costumes in Chun-Sin-ut and other Koean traditional costumes. Shaman's costumes have undergone changes with the decrease in the number of believers in Kut resulting from the diffusion of foreign religion the weakening of believers' faith in Kut resulting from the improvement of science and technology and higher education and the invention of new textiles and development of sewing technology. The reasons why the Kut is performed even nowadays are also discussed. Among those reasons firstly Koreans hold to their own folk religions. Secondly the kut has peculiar artis-tic value for Koreans. Thirdly Koreans seek peace of mind through performing the Kut.

• Journal of the Korean Society of Costume
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• v.55 no.5 s.95
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• pp.1-13
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• 2005

The results from the consideration of this are as follows. 1. Kokuryo has been the exchange foreign relationship with the Han dynasty era, from king DaiMuSin 25 years to Bojang 27 years. 2 King of Kokuryo, from The North-Wei-dynasty has been received ceremonial costumes, first-third class of China's official rank. After unification of China, Su, Dang dynasty's envoy and missionary and many commercial men and artist come from China to Kokuryo, therefore, influenced their costume habbits and behabiers from royal families costumes and common peoples costumes, without concern of that one's social position. 3. Kokuryo King's ceremonial costumes are not the same as the China. Kokuryo performed a religious service an emperor's ceremony. And the Kokuryo King's religious mind was the Budism and Daoism. So that mural painting just showing the symbolic of the king's costumes , Myunryukwanbok.

• Journal of the Korean Society of Costume
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• v.39
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• pp.181-196
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• 1998

This study is about the similarities and the individualties of the traditional costumes in the ruling classes of Koguryo(高句麗), Bakjae(百濟), and Shilla(新羅). The analysis is based on the views of historical reformation on$\boxDr$Sam-gooksagi(三國史記)$\boxUl$Bongi(本紀). The costumes that were worn by the governing classes are categorized by the following, official duties, wars, ceremonies, and recreations(hunting). Up to the present time, there has been a great tendency to emphasize the similarities of the Three Kingdoms' costumes among most of academic researchers. However, the conceptions of individualities of the costumes among the Three Kingdoms were conceived by the facts that geological environments, political systems, social traditions, social aspects, and foreign affairs. The Three Kingdoms had different official rank systems along with official costume systems. Monopolization of official positions of the ruling parties tried to show their dignity and authority through styles of their costumes. The costumes of Koguryo were greatly differentiated by geographical regions ; One direct example is cheak of Pyoungyang and Anak regiona was named as official hats of rulling parties of Kokuryo. However, in this study, the cheak was viewed as a product of influences of Chinese costume. Further-more, the laguan was named as mooguan. Costumes of ceremonial occasions were heavily decorated to symbolize dignity and auth-ority. Metal ornament of headgear and belt, metal shoes were con-sidered as ceremonial costumes. the tight hunting costumes of Koguryo shown in mural pain-ting costumes of Koguryo shown in mural pain-tings were presumed to be spring and autumn clothing. Excavated from Neungasnlee, the hunting costumes inscribed in the gold incense burnner were confirmed as hunting costumes of Bakjae. The individuality of the costumes of the Three Kingdoms could also be supported by the fact that they had different climates. The temperature difference between Gipan region and Kyoungjoo(慶州) region was emphasized. Especially winter clothing would have had a big difference in style than the summer clothing. Through the research summarized above, this study was able to confirm that each of the Three Kingdoms had developed individualized costumes based on their geographical, cultural and environmental factors. Furthermore, through this study, it was possible to find out the difference as well as the similarities of their costumes according to each of their people's sociopolitical status, awareness of indepen-dence, andunique historical and traditional charactoristics.

• The International Journal of Costume Culture
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• v.9 no.2
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• pp.125-132
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• 2006

This Study in order to review the history of our children's costumes, this study examined the socio-cultural background of Chosun dynasty and then, reviewed children's costumes comprehensively during that period according to their considerations, kinds, colors and patterns. In addition, this study explored the possibility of making use of the characteristics of children's costumes during Chosun dynasty, since it was perceived that if our children should be dressed in a traditional costume designed with some traditional costume characteristics and ornaments, our tradition would be enlivened in their life and spirit. It is results can be summed up as follows; Our traditional costumes consisted basically of Yu(襦), Go(袴). Sang(裳) and Po(袍) and additionally of Headgear(冠帽), Dae(帶), Hwa(靴) or Yi and Beosun, which must prove that the Korean people is cultural people. Our ancestors were dressed first in Yu(襦), Go(袴). Sang(裳) and Po(袍) to be supported by dae(帶). Our traditional costume style was 'front adjustment' or otherwise, left or right adjustment. Commoners' costumes would change after the series of foreign invasions and again during mid-late Chosun dynasty. During the period of King Sukjong, Jeogori was far shorter and smaller, while China was more diversified and voluminous enough to look like a jar.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.78-79
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• 2001