• 복식
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• 제18권
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• pp.373-381
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• 1992

Woman in Choson era had various kind of accdssories like rings, ear ring, ornamentak hairpins and so on. Among them their favorite was the Norigae, the pendent trinket. With the embroidered ornament at its center, beads and knots were attached to the upper and lower part, and it was hung with a tassel. It was carried on the string of the Chogori. norigae oreginated in waist string of Three Countries era(Sills, Paekje and Koguryo) ; had been changed with the development of fashion, embroidery and the influence of Buddhistic culture. The differences between Embroidered Norigae and Norigae are following. If the ornament at its center is made of such jewels as gold, silver, jade and the like, it is called Norigae. But if the ornament at its center is made of the embroidered Norigae. Such a Embroidered Norigae in which perfume was contained, was as a perfume box or a perfume bag and was carried on the strings of Chogori by Danjak(single work). The Differences between ancient Embroidered Norigae of late Choson era and modern Embroidered Norigae are Following; 1) The type of main body-the embroidered ornament at its center was mainly embroidered with the shape of animals in both of ancient Embroidered Norigae was usually formes like a bat and that of modern Embroidered Norigae like butterfly. 2) plants were adapted as the main design of ancient Embroidered Norigae, but plants and animals as that of modern Embroidered Norigae. 3) The colors of the background and the design are usually red in both ancient and modern Embroidered norigae. 4) The tassels of ancient Embroidered Norigae were mode in the shape of srick and a strawberry. but the tassels of modern Embroidered Norigae were mainly made in the shape of a stick. 5) Nowadays the beauty of external form is considered more important while the symbol of main body was considered more important in Choson era. 6) The role of Thidon in the composition of Embroidered Norigae is declined and a lot of main bodies are used in modern Embroidered Norigae. 7) Modern Korean people are apt to choose Embroidered Norigae depending upon the design of main body and the traditional Korean beauty. 8) Modern people who desire to get new thing, try to make the design of main body various. As their cognition of Korean tradition is of the increase, the restoration of ancient Embroidered Norigae to its original form has been accom

• 한국지역사회생활과학회지
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• 제22권1호
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• pp.103-113
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• 2011

The purpose of the study was to examine formative features of embroidered norigae in form, color, pattern and expressive technique through positive analysis of relics and various of collections of work and to consider expressive features of embroidered norigae. The results of the study were as follows. First, embroidered norigae has handcrafted decoration. it was made by being sewed for women longing for their family's happiness. Embroidered norigae is a dress worn by women that is hung on a coat string or the waist part of a skirt. Second, it is eco-environmental. Embroidered norigae applied things seen in nature such as flowers, butterflies and bees to its pattern. Third, it has practicality. Embroidered norigae has high practical value besides a decorative function. Needle case norigae and incense case norigae provide functions in accordance with women's wisdom and skill as well as practicality. Fourth, it is praying for good luck. Women embroidered patterns symbolizing their desires in life such as their family's happiness, wealth, many sons and a long life. Fifth, it has balance and harmony. The knot of embroidered norigae has a perfect symmetry in the front/back part and in the right/left part. And the main body and tassel are symetrical in the right/left part, which gives stability and comfortableness. Embroidered norigae is classified into knot, main body and decorative part in its form. The three kinds express their unique beauty by being harmonized together. Finally, it has a property of melody. Movement of the tassel has a property of melody shaken by the wind and movement of its wearer.

• 한국의상디자인학회지
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• 제12권4호
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• pp.173-182
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• 2010

In this study, textile designs were developed by applying Norigae for motives, were digital-printed for it's eco-friendly, delicate and short printing time and as final products, necktie, bag and bedding was developed with them. The purposes of this study were to develop a unique textile design, and then to enhance the competitiveness of Korean textile industry in the world market and pass down a Korean traditional fiber art cultural legacy. The results are as follows Norigaes are a sort of Korean traditional ornaments worn on women's Korean traditional costume. These can vary in color, material, shape, composition and said to have very high artistic value from the standpoint of the modern view. And these are symbols of happiness and women's longing of Korean traditional society. So Norigaes are worthy of applying Korean traditional motive for modern textile design. The textile designs applied a Norigae in this study were estimated comparatively high.

• 복식
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• 제58권5호
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• pp.51-70
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• 2008

The purpose of this study is not to look at the history of traditional accessories or the characteristics of their shapes but to discern imitations ￡Tom authentic items by exploring imitations of traditional accessories-- many of which were made in the late 20th century -- from private museums and university museums in order to help scholars assess relics. Among many kinds of accessories in the Joseon dynasty, only norigae, one of the representative accessories, and women hair ornaments are selected for this study since many of the relics have been recovered to date. Given this, this study will consider firstly the general history of norigae and women's hair ornaments, and secondly, prove several examples as relics from the late 20th century while they are marked as relics from the Joseon dynasty by comparing authentic items. Thirdly, among the imitations of the late 20th century, this study will find those so-called "original" imitations whose production origins are unidentified Fourthly, this study will explore the imitations, which were influenced by the influx of items and materials from China. It is important to discern low-quality relics as well as to correct the production time. Some producers exercised their creativity and made relics non-native to Korea. These relics shouldn't be presented at international exhibitions. Restored relics should be noted so and their quality should be equal to the authentic items. It is suggested that relics without the identity and quality of native Korean relics not baffle cultural interchanges and enhance national glory.

• 한국생활과학회지
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• 제23권5호
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• pp.905-917
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• 2014

This study clarifies that Scytian waistband had flowed into the Jeoseon Dynasty, and it was settled down to saezodae(which is male belt) and norigae(which is female accessory) and pocket in the Joseon Dynasty. Historical records and relic materials are examined and analyzed by quality assessment. 5 experts performs sensory evaluation for 17 pictures of Scytian waistband, and 42 of norigae, 24 of pocket, 6 of small knife, 11 of belt in the Joseon Dynasty, and finally similarity in form and purpose of use between both of them are come out. Research results are summarized as follows: First, Scytian waistband made with leather and metal was carried in the girdle. Men in the Joseon Dynasty carried various forms of belts as position and jobs such as saezodae, kwangdahae, dongdahae, doa. Trinkets of hopae, jangdo, pocket, etc. are put on belt or separately attached. Belt was not put on the women dress, but more various trinkets were used than those on men dress. Norigae, pocket, and jangdo were used practically and decoratively. Second, The types of Scytian waistband were excavated from the tumulus in the age of three states in Korea, and their form and function are same. Belt of the Joseon Dynasty carried below their chest and up navel, of which the wearing position went upper than before. As women jeogori was shorter, their belt is not necessary and various trinkets were put in their skirt. Finally, this study conclude that Korean traditional belt and trinkets come down from Scythian waistband.

• 헤리티지:역사와 과학
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• 제55권2호
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• pp.6-21
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• 2022

본고는 귀이개라는 특정 공예품이 시대의 흐름에 따라 변화하는 양상을 통해 당대의 물질문화에 주목하고자 하였다. 2장에서 귀이개에 관한 용어 정리를 하고, 조선후기 단편적인 문헌을 통해 귀이개의 사용 문화를 살펴보았다. 귀이개는 첫 번째로 개인의 수신을 위한 위생도구였고, 두 번째로 남성들의 선추에 다는 구성품으로 상징적인 역할을 하였다. 3장에서는 시대별로 귀이개의 형태를 분류하고, 각 형태별 특징적인 장식기법을 살펴보았다. 고려시대 귀이개는 사용목적이 위생도구였으며, 형태에 따라 단독형, 복합형으로 구분된다. 단독형에는 각봉형, 손잡이형, 판형이 있으며, 복합형에는 족집게일체형, 리벳분리형이 있다. 손잡이형 귀이개에서 고려시대의 장식기법을 살펴볼 수 있었다. 선각, 금도금, 바탕에 누정기법으로 찍은 첩호(疊弧)문, 납입사로 화려하게 장식되었다. 조선시대 귀이개는 사용목적에 따라 위생도구와 장신구로 크게 분류된다. 위생도구는 단독형, 복합형으로 나뉘고, 장신구로 사용되는 귀이개 종류로는 뒤꽂이, 노리개, 선추 등이 있다. 귀이개 장신구는 성별에 따라 여성은 뒤꽂이, 노리개로, 남성은 선추로 사용되었다. 조선시대 귀이개의 장식기법은 주로 귀이개 뒤꽂이에서 볼 수 있었다. 칠보기법으로 다양한 색을 내거나 보석감장으로 장식하였다. 그동안 공예품 중 일상도구에 관한 연구가 미진하였다. 일상도구를 통해 시대의 흐름을 읽고 물질문화에 접근하려는 시도가 활발하게 이루어지길 바란다.

• 복식
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• 제56권8호
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• pp.1-14
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• 2006

This study is to examine the Hyangnag used in China. Results of the study can be described as below. 1. Hyangnang was also called Hyangdae, Hyanghapo, Hunnang and Chunnang. Perfumes were used to make the body and clothes diffuse a good fragrance. And Perfumes were used to prevent insects and remove related pollutions. It was possible to prevent insects when perfumes were burnt out. 2. In the Han, Song, Yao and Win periods, Hyangnang had Cylinderical, Rectangular, Cylinderical and Rectangular, Circular and Calabach types. These various types were developed into one, Norigae type, in the period of Ching. 3. Hyangnang were decorated mainly with embroideries, knots and seams. Embroideries were applied always onto the surface of Hyangnang. Knots were used mainly in the Song and Win periods, decorative seams were used mainly in the Ching. 4. From the Han to Yao periods, Hyangnang was made of perforate textiles like na and Sa for practical reasons, making perfume smells more easily diffused. From the Win to Ching periods, Hyangang was made of dense textiles like silk and Dan, which could be easily embroidered for decoration purposes. 5. Hyangnang was often hanged down from the waistband and up onto the fore chest or the elbow, or put into the liner of the sleeve. 6. Hyangnang has immanent implications of symbolism, ideology and aristocraticism.

• 한국생활과학회지
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• 제13권1호
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• pp.145-152
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• 2004

The purpose of this study was to find out the traditional decoration techniques in the Korean costume. Both quantitative and qualitative research methods were used to collect and investigated the traditional decoration techniques used in the related literatures and museum catalogues. The results were as follows. The broad and back stitching are fundamental stitching, which used to Nubi and Keki. Top stitching applied broadly to the Korean costume, for example, Jergori, Wonsam, Jeonbok, Beosun, Bojagj and so on. The expression techniques for top stitching were one, two or three stitches. When the top stitching was used as colorful stitches, they were more decorative. The Zatmulim was used for the decorative effect on the seam line because it was triangular shaped and became more effective by changing the rotor and size. Sunmulim was used on the narrow line such as the seam lines of Gergori and Chima. The bakchi decoration was imitating a bat shape, had a meaning of bringing the goodness and gave the tiny and elaborated image. It was used to the neckline of Geogori, seam line of Chima, Pungcha Bazi and so on. Sattgi was used to attaching the bottom of two stiff fabrics adopting for Beosun, Ayam and Norigae. When it used colorful strings, the more decorative effect was added. The knot for button used the fabric instead of buttons and applied to the Cheonlik, Gergori. The aesthetic values of the traditional decoration techniques in the costume were both natural beauty and practicality with creativity.

• 패션비즈니스
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• 제10권1호
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• pp.79-93
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• 2006

The purpose of this study is to analyze designs of exhibition clothing in terms of the use of Korean image, to review objectively contents about the use of traditional image, understand external elements of works, and give directions and basic data for future works. This study selected the total 250 works as the subject of this study among the collected data. This study classified and examined the use of Korean image found in exhibition clothing according to period, item, line and form, material, technique of expression and accessary between 1996 and 2004. The results of analysis are as follows (1) The most artworks were comprised in adaptation were Choson costume. (2) Most of them were clothing works for female. The item of chima were the most preferred in use. (3) The straight lines are used more frequently than curved lines. Forms of skirts were applied to those of silhouettes, H and A form were common. (4) In terms of materials, traditional materials such as silk, linen and cotton were commonly used. (5) Geometric patterns and plant pattern were found more often than others. (6) In terms of techniques of expression, patchwork was most frequent, quilting, embroidery and pleating were ranked second, third and fourth. (7) In accessaries and other item, gorom were most common and norigae were ranked second. (8) As Korean image has been expressed by fine parts of traditional costumes, the traditional living item, and local symbols, the range of works are becoming wider.

• 한국의류산업학회지
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• 제8권3호
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• pp.258-268
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• 2006

The purpose of this study is to consider incense culture found in costume and life in forms of carrying and decoration. Here, incense for carrying and decoration is classified into two cases, using it as a costume accessory and life space. Hyangjumony, Hyangnorigae, Hyangjul, Hyangdae and Hyangseonchu were costume accessories. Hyangjumony was not only used for the royal palanguin, but also for bedroom. When Poetic Literature, and other ancient publications were reviewed in regard to incense for carrying and decoration, it was estimated that incense began to be carried for the first time before the late period of Shilla(9C). In addition, it was found that incense was not just a personal taste, but one of important gifts exchanged between states, envoys of different nations and between sovereign and subject and that incense was a necessary costume accessory for men. Types of incense for carrying and decoration used in this nation are classified into Hyangjumony, Hyangnorigae, Hyangjul and Hyangseonchu. Hyangjumony is a fabric pouch that contains incense. Hyangnorigae is Norigae whose main material is incense. Hyangjul is a string to which incense is hanged. Hyangseonchu is Seonchu whose main material is incense. Incense for carrying and decoration was based on five colors that symbolize cosmic order and harmony, of which red and purple were mostly used. Red strongly suggests expelling Yin with Yang, or exorcism. The color gives a strong impression, so it was often used to make a carried incense more decorating. Main materials of incense for carrying and decoration were gold, silver, precious stone and horsehair. They are different in characteristics, but were used appropriately for incense fragrance and decoration. Patterns mainly used for the incense had shapes of animal, plant, sipjangsaeng and letter. These were all auspicious patterns that symbolize human wishes and desires, especially individual and family happiness.