• Proceedings of the Korea Society of Costume Conference
• /
• 2005.10a
• /
• pp.182-183
• /
• 2005

• Journal of the Korean Society of Costume
• /
• v.24
• /
• pp.47-58
• /
• 1995

The Study is to find out the thought of costume of the people who advocated the Wejung-chunksa. Conclusions are described as follows 1. The action to boycott western goods was the early response in the Wejung -chuksa Thought. The reason were in fear of ruin in chosun industry and worry about the westernizing the Korean. 2. The people of the Wejung-chuksa had the conservative character in order to maintain the traditional public order and the costume. They thought that costume have a role to distinguish between man and woman , the rich and the poor and so on. Therefore acceptance the wastern constume style meant that the Korean became a savage. So that they rejected the King's order about the dress-system reformation in 1884, 1895. That pointed that their ultimate purpose was to keep the traditional rule. 3. In appearance the purpose of the short-hair law was good for health. But it meant to destory the traditional order and to symbolize the civilization . Especially the short -hair in the people of Wejung-chuksa meant the destruction of the traditional rule and casting away the courtesy. Therefore they wanted to keep the value of the traditional costume.

• Journal of the Korean Society of Costume
• /
• v.32
• /
• pp.213-224
• /
• 1997

This paper is the result of research what im-ply the shaman's costume in Korea "Kut" The implications can be summarized as follows: 1) Shaman's costumes in "Kut" are divided into two parts. Namely the one is the position as a priest and the other is the one as God it-self 2) Also shaman's costume were used to ex-press God's character in the ritual "Jae-Cha" These were based on the costume system by one's social position in the times of the Cho-Sun. 3) The reasons why shaman worn the tra-ditional costume are discussed variously. Among those reasons firstly shaman stands for the symbolic significance of each "Kut" as the agent of God. And secondly shaman wore to symbolize the miraculous virtue of God. symbolize the miraculous virtue of God.

• Proceedings of the Costume Culture Conference
• /
• 2000.09a
• /
• pp.76-77
• /
• 2000

• Proceedings of the Costume Culture Conference
• /
• 2005.10a
• /
• pp.76-76
• /
• 2005

• Proceedings of the Costume Culture Conference
• /
• 2003.02a
• /
• pp.8-8
• /
• 2003

• Proceedings of the Costume Culture Conference
• /
• 2000.09b
• /
• pp.49-50
• /
• 2000

• Journal of the Korean Society of Costume
• /
• v.57 no.6 s.115
• /
• pp.62-70
• /
• 2007

The purpose of this study was to examine a unique characteristic of the colors of the costumes in Korean basic culture in the aim of seeking Five-elements color found in Korean civilian's costume culture. The scope of Korean basic culture was 32 items specified as an import intangible cultural asset in the side of religion and art for the majority of the Korean people. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. The result of this investigation was that Red was yellowish red and high chromatic and deep tone within 4area. Blue was purplish blue and high chromatic and deep tone within 4area, similarly Red. Yellow was pure yellow and high chromatic and bright tone within 3area. Red and Blue in Korean basic culture were more primary color and more high brightness than Korean traditional colors. Religion and art fer Korean civilian revealing the Korean basic culture reflected impending real-life of Korean civilian who intend to overcome their desperate reality at using Five-elements color in their costume.

• Cross-Cultural Studies
• /
• v.22
• /
• pp.223-277
• /
• 2011

Tan Yuanjie(譚元杰) of CHINA COSTUME ART OF PEKING OPERA("中國京劇服裝圖譜") is 'Foreword' attention from the bar 'Formalism'. A note is makeup system from ever performances here, 'what kind of adaptation must be a corresponding type of costume should be worn.' This stance to 'type of person's identity and faced the scene correlated' with the actual performance tradition plays out is going and, while here the rules to capture the opera's on the character of 'identity and the circumstances under clothing' is defined. This position discussed previously 'Formalism' in line with the will he perform, and looks to meet the elements of production. This basic stance is clean up, while 'Old Beijing Opera costumes costumes taxonomy largely' literary costume' and 'militant outfit' into two groups divided over throughout steamroll surgery, because surely need to have a more systematic classification. The classification system was established as 'Part 1. Mang, Part 2. Pi, Part 3. Xi, Part 4. Kao, Part 5. YI'. In addition to these classification systems, as well as the aforementioned 'object theory' Given the symbolic significance of the capacity to keep in mind is necessary. Costumes conduct, character, situation, atmosphere and so the transport of charged symbols here, a target symbol of the system is the projection of water. This costume is detrimental to the mall for the positionsay, but I kept in mind damwongeolyi internationalization of Chinese culture. when you see the view from the perspective of semiotic systems for the sign, that the theater is necessary to complement. In this paper, 'Yi(衣)' costume on the corresponding point of the target compared to the China Culture Department of Theatre and Folklore methodology ran off and sprinting was to lay the groundwork for research.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.17 no.2
• /
• pp.111-124
• /
• 2015

This study inferred the symbolism of shaman's costume in China from shamanism and types of shaman's costume in Naje, Deokgang-hyun, Guiju-seong, China through field survey. Shamanism in China has complicated aspects due to negotiations with other culture for a long time while maintaining its own consistency based on ethnicity. Symbolism of shaman's costume in Naje, Guiju-seong, China is observed as follows. First, the shaman's costume in China appears differently from every Jangcha in relation to the position of god appearing in Jangcha when Tolosa takes the position of god as a symbol of sex and god. In Naje of China, the most important shaman's costume indicating the position of god has a unique mask for every deity. It communicates that Tolosa wearing a costume appropriate for the god of wine shall become the god in that Jangcha. Second, the shaman's costume in China has something to do with Yin-Yang and the five elements theory of Taoism as a symbol of shamanism visio of the universe and system of reason. Most of Tolosas hosting Naje are men but dress up as women by wearing Nagun looking like a skirt. Nagun is usually red, the color of Yang, which symbolizes that by wearing such costume that takes color of Yang, Tolosa expels an ominous thing by balancing yin and yang and taking god's strong power. Third, Tolosa takes an eight-breadth Nagun, as a symbol of people. An eight-breadth worn by Tolosa in Naje strengthens the spirit of union and fight of the Tujia nationality who live in Deokgang-hyun, Guiju-seong through folk legends. In this course, a symbolic meaning of the national spirit has been provided on an eight-breadth Nagun, a shaman's costume.