• 한국의류산업학회지
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• 제7권4호
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• pp.387-393
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• 2005

This study compares shamans' costumes of Korea with those of Siberia and Central Asia. It also investigates the meaning of shamanism and shamans,the relationship of Korean shamanism to shamanism, and the genealogy of Korean shamanism. For collecting and analyzing data of the research, literature reviews, field studies, and the investigation of historical relics are mostly used. The following are the major findings of the research: Through the comparison of shamans' costumes of Korea with those of Siberia and Central Asia, this research finds out some similarities and differences in the costumes. Both Korean shamans and Siberian and Central Asian shamans wore shaman's costumes and used utensils like bells or mirrors when they perform a religious service. On their costumes, they both used an element which stands for birds. However, they were different in terms of the materials or styles of the costumes, of the function of the costumes, and of the decorating with ornaments. The differences in the materials or styles of the costumes, different functions of the costumes, and using ornaments or not can be viewed as a general phenomenon, which is resulted from different environments. The soul's departing the body or the possession or a mixed method can be considered as mere variations due to regional or cultural differences. In conclusion, based on the comparison of the costumes of shamans of Korea with those of Siberia and Central Asia, the shamans of Korea and Siberia and Central Asia share the same origin. And the genealogy of Korean shamans can be said to be originated from the northern shamanism.

• 복식문화연구
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• 제7권1호
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• pp.68-81
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• 1999

This paper makes a report of Shaman\`s ritual performed among Korean resiednts in Japan as socio-historical facts, and this also examines the symbolic meanings of Shamans\` costumes. The results are as follows ; 1) At the ritual of Jungsip-Wang Maji, Shamans wear Gwandae, Kunbok, Jangsam, Durumaki, and Chima-jugori. These costumes show that their wearers are priests and gods at the same time. 2) The reason why Simbang performs the ritual in different costumes at different Jaechas is that each object-god needs different costumes to represent its different character. 3) Shamans\` instruments consist of musical instruments and other instruments. Among the musical instruments are such percussions as Buk, Jing, Janggo and Sulsae. Among other insttruments are Sindo, Sanban and Yoryung. 4)Shamans think that the musical instruments have magic powers to drive out minor demons and invite gods. Sindo, Sanban and Yoryung are thought to be the symbolic instruments representing god\`s will.

• 대한가정학회지
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• 제49권4호
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• pp.1-9
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• 2011

This study aims to examine the costumes, which a shaman wears for the ritual of exorcism in the Honam region. The findings are based on a field survey of the exorcism ritual, which is performed by hereditary shamans and forms part of an annual event in the Honam region. Two main features of the shamans' costumes were observed. Firstly, the types of shamanic costume worn for gut reflected the general traditional costume but with some variations. White-colored costumes are largely found in the Honam region. Secondly, the types of costumes, which shamans wear in the Honam region. are also varied. The different types of shamanic costumes, regardless of Ga-sa, can be classified into Jang-sam, Jeon-bok, or Duru-magi, variations in the patterns of costumes, differences in the types of conical hat, and modifications in the dress code.

• 복식
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• 제22권
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• pp.85-96
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• 1994

The purpose of this research is to find out the role of shaman's costume in Yakut Yukachir Goldi. The results are as follows: 1. Yakut shaman's costumes are decorated by their worship symbols made from metals-wild ducks crucian carps diving beetles and fishes. They believe that these costumes help shamans to travel the heaven underwater or underground systems to collect wanted infor-mation transforming them into the shape of decorated animals. 2. Yukachir shaman's costumes are decorated by symbolized cross medals in the shape of birds and human designed backbone which give shamans much power and many different kinds of medals and tassels representing all sorts and conditions of shaman's power. They consider their cstumes as feather and believe they give them new power and make them to fly anywhere they want. 3. Goldi shaman's costumes have paintings of animal guradians-leopards tigers bears birds snakes lizards and so on. Birds represents freedom of the spirit and eternity. snakes represents rebirth and immorality and lizards represents the trees of underground the earth and the lifetrees of the heaven. Shamans ascend through th holy tree to th heaven and to the world of underground in a comatose condition. Shaman costume itself plays the role of the spiritual safeguard. Wearing their costume shaman get all animal's supernatural authority and power. This makes the shaman to contact with the spirit and to travel the heaven and the under-ground world.

• 복식문화연구
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• 제28권6호
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• pp.858-874
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• 2020

This study attempts to analyze the social and cultural meanings of the ethnic groups to which different types of shamans belong in Siberia from the appearance characteristics in terms of clothing through Roland Barthes's semiotic theory. The research method here is to analyze three types of shaman costume classified by Holmberg, which are bird-type, deer-type, and bear-type, through theoretical research and to investigate the analysis process of Roland Barthes's semiotics theory. Roland Barthes's approach to semiotics presents an analysis model that can explore the sociocultural meaning of the Siberian shaman costume. The research results are as follows. In the first type, to be closer to the god of the upperworld, shamans transform themselves into birds by decorating their costumes with the characteristic elements of birds such as feathers and wings. In the second type, the shamans' costumes are made of deerskin, and the headdress is shown in the shape of antlers to make it easier to receive messages from the upperworld and run fast in the underworld. In the third type, the shaman's costume is made of bearskin, the head is covered with bearskin, and the body is decorated with bear pendants. Through the power of the bear, the shaman is sent to the underworld to defeat evil gods and remove diseases. Shamans can show their particularity of being a demigod and non-binary gender through clothing. They use this to reflect their authority as a medium of communication between man and god.

• 복식
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• 제50권3호
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• pp.5-12
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• 2000

Jaesuk-koli an important part of the 12 shamanistic rituals, is an accepted buddhist monk's costume. In this paper, the Jaesuk-kori costume and its meaning are studied. The ornaments of shaman's costume differe somewhat from region among individual shamans, but the symbolic meansing are fairly similar. The significance of Jaesuk-kori shaman's costume ar as followed ; First , a Buddhist monk's costume is accpted in the Jaesuk-kori ritual costume. Second, a shaman wears Jangsam (long-sleeved buddhist robe) and Kasa (surplice) in the Jaesuk-kori rituals. Third, the ornament of Sipjangsang objects search for earthly happiness while the rotus flower embroidered on the costume , depicts purity in the heaven world. Fourth, five colors in the Jaesuk-kori costume represented, Yin and Yang of universal harmony. Jesuk-kori ritual costumes signify that traditioal shamanism was accepted and absorbed into Buddhist rituals system.

• 한국의류학회지
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• 제31권8호
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• pp.1190-1201
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• 2007

This study is to review the costumes of female Shamans through Gamrotaenghwa(甘露幀畵) in the late Joseon Dynasty of the 18th and 19th centuries. The picture of Mudangnaeryeok(巫堂來歷) showing Shamanic performances which is kept in Kyujanggak, Seoul National University was the only one thing enabling to compare with the Shamanic costumes shown in Gamrotaenghwa. The earlier Gamrotaenghwa doesn't show the Shamanic features but that of the later part of 18th century shows specific costumes so that the scene of Shamanic performance can be guessed. The Shamanic costumes are classified into 5 types. Type A is considered to have followed the figures shown commonly in earlier Gamrotaenghwa of the 16th and 17th centuries, rather than the traditional costumes. Types B through E show the costumes of the Joseon dynasty. With the basic costumes of skirt and Chogori(a kind of jacket, Type B), the variable costumes worn for each type of Shamanic performances are Mongduri(蒙頭里, Type C), Jeonbok(戰服, Type D) and Cheolrik(天翼, Type E). Reviewing the general style of those costumes, the upper part was tight and the lower part was silhouette of big volume, and the length of Chogori was a little long in the early of 18th century but it became shorter with narrower sleeves from the later part of the same century. According to the general literatures about the outer collars were not overlapped and its side parts were open, with half or no sleeves. In case that the target of Shamanic performance is male god, the Shaman wore the male costumes represented by Cheolrik and Jeonbok. Because these Cheolrik and Jeonbok which were worn during the Shamanic performance have the symbolic meaning to correspond with the male god, they didn't function as ordinary costumes.

• 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.

• 대한가정학회지
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• 제42권2호
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• pp.151-160
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• 2004

This paper researched and compared the Jangsam religious costume, of Buddhism in Yeongsanjae with that of Shamanism in Gutgeori. Jangsam is a full length, flaxen hemp dress used in both religions. (Ed-please amend this sentence as necessary but note that it is essential to give some description of the costume here for non-Korean readers) The religious point of view can cause Jangsam's features to differ Jangsam's meanings are as follows. First, the purpose of wearing Jangsam in both the Buddhist priest's and Shamans' costumes is to gain power from the Almighty in order to maximize the religious effect. Second, Jangsam in the Shaman's costume features universality mixed with Buddhism and folk religion and becomes symbolic in Buddhism. As society disregards Shamanism, it has become combined with Buddhism. Third, Jangsam for Yeongsanjae or Chukwon Gut has kept its religious specialty as a Pyoeui despite various modifications.

• 복식
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• 제36권
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• pp.167-181
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• 1998

This paper is the result of research about what imply the symbolic significance of the shamna's costume in Siberia and Central Asia by using plates, medias and exhibitions in JNME. The reselts of the present study are summarized as follows; 1) The researcher define the shamanism as incantation, religious phenomenon centering arround shaman who communicate with the existence of preternatualness by possession or trance. 2) Siberia and Central Asia's shamans are comunicated with the existence of preter naturalness by trance. 3) In Siberia and Central Asia, the shaman's costumes is presented in a shaman ritual are caps, jakets, ornaments, stick and shoes. They symbolize spiritual world, stupendous shaman and powerful animal. 4) A significant symbolic meaning of shaman's costumes is that they change shaman to the existence of preternatualness.