• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.364-371
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• 2015

This study investigated and analyzed Sadanggut for General Namyi, Agisee Gutdang in Haengdang-dong, Dodanggut in Bonghwa Mountainto examine the type and characteristics of official hats for shaman's costumes based on Seoul village gutas a spiritualistic shaman revealing the divinity of music for gutthrough singing, dancing, divine material and official hats. Commonly worn official hats were Goggal(conical hats), Jeonlip(soldier's felt hats), and Heuklip(black hats) for Seoul village gut as the object of thisstudy. Each official hat had a close relationship with subjects for divinity and musical meaning for gut. Julip(Red hats), Jokduri(bride's headpiece), helmets, Iksubgwan(King's official hat), and Daesu(Queen's a big wig with various hairpins) were also worn. Official hats worn for Seoul village gutwere understood to symbolize divinity and raise authority and dignity to the public through aggressive appearance, exaggeration and splendor. Concretely, official hats at Seoul village gut first had roles to materialize the divinity of each music of gut. Second, recognized as a part of performance or traditional culture in present day, aggressive official hats were favored to supply splendid attraction and maximize scenes of divined heroic epic poem in gut. Third, for Seoul village gut, colors and silhouettes of modern traditional costumes were reflected pursuing partial change and focused on exaggeration and splendor to express the mirth and festival of gutwhile maintaining traditional costumes.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.8
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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.

• Archives of design research
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• v.17 no.3
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• pp.199-208
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• 2004

From the aspect that design should respond to the necessity of various cultural bases, design is important to be grafted to Korean traditional culture. This circumstance leads this study to clarify the plan of multimedia contents development of 'paintings and original forms of shaman spirit' in Korean shamanism as one of realistic re-illumination works for Korean cultural original forms. The main study results are conduded as followings through literature reviews, internet searches and case studies. First, 'the planning process' necessary for the development of scenarios, characters and multimedia contents are suggested based on the establishment of hierarchy structure among shaman spirits which are classified into necromancer, human being, nature and life after death. Second, relating to execution of process above, it is suggested that 'the strategic. plan by business items and its genres' such as blessing fancy goods, characters for mobile or game, scenarios for game or animation, online digital exorcisms, e-cards, e-talismans and so on. Finally, as future industrialization concerns, 'the industrial development plan' is suggested which can be extended to scenario-based original businesses such as game scenarios for online or mobile and heroism fictions. The study results highlight the fact that multimedia design approach are considered for expanding the target and scope of creative material for Korean cultural original forms. Future researches, based on the results of the study, are expected to be expanded to the various designerly-thinking approaches into 'Shaman' themes and rather to be re-illuminated to the development of Korean cultural original forms as a nation's strategic standpoint.

• (The) Research of the performance art and culture
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• no.18
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• pp.73-100
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• 2009

This article is considered how to utilize mime in the mudang gut. Actually, mime can't be the crux of mudang gut, and the only factors of mime is utilized. Therefore, the purpose of this article is to draw another nets of meanings in Mudang gut, not to study mime. First of all, I surveyed the constituent factors of mudang gut. One gutpan is combined with various factors. As a shamans(mudang), a musician, a jang gu player, a gongyangju(taking charge of food), a sibongja(helper for a shaman), and madangsoe (an under servant), they played their roles. The gut consists of equipment, food, clothes, music and dance. Next, I derived two nets of meaning out of considering a mudang gut performance of mudang (shaman). First, god in a general gutgeori appears expressing their existence by using mime with the music. Second, the following god appears expressing themselves using only mime without music. After showing who he is through action and facial expression, he continues to play a gut. Accordingly, mime of seoul gutpan plays a role to reveal the existence of god. Also, I divided the way of performing mudang gut into language performance and motions and then suggested that mime was mainly used in the motions. I surveyed a gutgeori using mime in the concrete. Through this, I suggested that the shaman used mime, when sending a deadman to the next world in a Jinogi gut. I suggested that mime was utilized repeatedly at the process of repelling the misfortune in a jaesu gut.

• The Research Journal of the Costume Culture
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• v.7 no.1
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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.

• The Korean Journal of Quaternary Research
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• v.18 no.2 s.23
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• pp.99-102
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• 2004

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.517-518
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• 2018

• 중국학논총
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• no.68
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• pp.211-233
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• 2020

上古时代原始性的巫术信仰和政治有着不可分割的关系, 可以说原始宗教信仰和巫术信仰的性质有一脉相通的方面, 上古时代原始性的巫术信仰和妇女有着不可分割的关系, 所以在后代妇女们的宗教活动中也起着极大的影响, 不过巫师的作用和与宗教性相关联的巫儿相比, 其由神格化人物被升华到具有以强大威力降神或管理超自然, 给人间降祸福等非凡的超能力。并且, 具有巫师资格和非凡能力的主观条件是作为代替神和上帝及鬼神相同的象征性人物要有超越一般人的灵验能力。虽然尚不能明确巫师的起源从何时开始, 但其存在是不可否认的事实。并且由巫师的职责带有和宗教直接性的关联这点来看不仅和"巫儿之俗"不是没关系, 而且可以判断为这点由某种关联性变迁而来的。另外特别认为这种和政治社会无法分割的关系决不是一种偶然。它是从上古时代没有消失, 不断流.

• Journal of the Korean Society of Costume
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• v.34
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• pp.195-208
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• 1997

1) The color of JOGORI and CHIMA was such gorgeous and those garments were put on during the events of GAM-EUNG-CHUNG-BAI HO-GU-GEO-RI JO-SANG-GEO-RI DEWT-JUN and CHAN-BOO-GEO-RI. 2)BULSA-JANG-SAM(JE-SUK-GEO-RI) was white colored and had wide sleeves putting on a pink priestrobe and a pink belt on it 3) they put on HONG-CHUL-NIK(GU-REUNG) and CHONG-CHUL-NIK(DAE-GEO-RI). 4)They put on GOO-GUN-BOK(JUN-RIP JUN-BOK(BYUL-SUNG-GEO-RI) DONG-DA-RI(Expel the demon) 5) MONG-DOO-RI(MAN-SIN-MAL-BYUNG) put on the garment constructed with the color and from of a white straight collar a wide sleeve and a pink belt 6) A long robe was colored with green (GAM-EUNG-CHUNG-BAI) and was used not as a headdress but as a man's overcoat. 7) CHANG-EUI was a green colored small CHAHG-EUI(SUNG-JO-GEO-RI). As observed above the Shaman apprel during Chosun Dynasty is a part of the traditional clothing originated from THE THEORY OF THE COSMIC DUAL FORCES and THEORY OF THE COSMIC DUAL FORCES and the FIVE ELEMENTS (i.e. metal wood water fire and earth) It's basic form and wearing method were not so different from the traditional clothing silmilar to the official uniform during Chosun Dynasty and the official uniform was the symbol of authority(almost almighty) at that time of period and to that the Shaman apparel was constructed with the more gorgeous colors to emphasize the sanctity or the descent of the Divine Being from heaven. We realized that a Shaman had put on the symbolic garment suitable for the grade and nature of the Divine Body at every events to enter into " The World of Gods"Gods."

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.1-11
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• 2008

The purpose of this study was to investigate how formativeness of shamanism has expressed and developed in modern fashion. Formative expression of shamanism in modern fashion has expressed in the way of on style, color, material and pattern as follows; Style has made animal and human incorporated by expressing abstract animal on the part or whole of costume and it has reconstructed traditional shaman costume into modern costume. Skin colors of living bodies which exist in nature, such as black, blown, yellow and grey, were used to symbolize spirit and low brightness of colors such as blue, white and black were also used to symbolize hyperspace. Artificial materials which imitate animal figure and genuine materials from animal were used. Various natural materials used in traditional shaman costume were also used. Animal patterns and abstract patterns symbolizing the celestial heaven and lower world, and patterns shown on wall painting and rock painting has appeared. The meaning of shamanism in modern fashion can be identified as interchangeable movement of time and space, a cosmic outlook on the world and ration. Spiritually designed costume has made fashion move to hyperspace in spirit trip. Modern fashion with shamanism has expressed its cosmic outlook on the world or universal wish beyond human's real world by patterns such as bird figure which means the celestial heaven and lower world. Corporation and transition of human and animal were symbolized as shaman hypernatural intercourse with designs expressed in costume using a part of animal or animal's characteristics.