• Journal of the Korean Society of Costume
• /
• v.65 no.6
• /
• pp.79-98
• /
• 2015

This article studied women's headdresses that appeared in the paintings of Joseon Dynasty. This examined the shapes of women's headdresses painted in genre paintings, record paintings and nectar ritual paintings from Joseon Dynasty and compared them to literatures and relics in order to analyze their types and characteristics. Headdress can be categorized into three types: (1) square cloth worn on the top of the head; (2) a kind of small cap; (3) Cloth that completely covers the head. The first type of headdress resembles the shape of Garima. In the early period of Joseon Dynasty, it was worn not only by Gisaeng, but also by both upper and lower class women. The second type of headdress includes a cap made by connecting several cloths, round cap, and cone-shaped cap. These two types are worn on top of the head. However, sometimes these were worn between the head and the chignon to fix the chignon. Also, these were used as hair accessories for decorative purposes. In particular, old women wore these headdresses and braided their white hair around them to fix the chignon. This way, the headdress not only kept the head warm, but also hid the old women's scanty hair. Headdress was usually made of black fabric and it was a simple hair accessory that replaced the wig. The third type of headdress was widely worn among lower class women. The cloth completely covered the head so that the hair would not fall when working. It also provided protection from cold and hot weather. According to paintings, there were many ways of wearing the cloth around the head.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.26 no.10
• /
• pp.1424-1435
• /
• 2002

This study is about women's veils from Chosen period housed in various museums and see how they reflect the escalating inequality between the two sexes based on Confucianism and its social ramifications including the strict rules that kept women from freely communicating or staying in same quarters with men from tender age. I first visited various museums to see what kind of veils they had in their collections and then looked at reproductions, museum catalogues, and other studies to get a better understanding of the designs, colors, and fabrics of the veils in each collection and came to following conclusions:. 1. I looked at 26 veils of 7 different sues both in person and in museum catalogues, and they included a Neouls,3 Myunsas, l2Jahngots,4 Chuneuis,1 Sahkgat 3Junmos, and 1 Garima. Various documents attest to the existence of one more style of veil,1. e. skirt-shaped veil, but there was no specimen of the type. 2. Museums had various types of veils for women, but most of them dated from late Chosun period. 3. Female veils in Chosun period had dearly-defined characteristics depending on their wearers. Each type had its own fabric color, and form, so one could tell the status of the wearer just by looking at it 4. The veils that I found at museums around the country had following characteristics: . Neoul was worn by high-class women and it covered up the face better than other types of veils. Myunsa was also caned Myunsapo, and it featured brilliant gold foils to mark the salted status of the wearer. Jahngot was originally a robe for both sexes but it turned into a type of veil for low-class females in late am period and there were more Jangots in museum collections than my other type of veils. Chuneui has various styles and it has a cotton lining so low-class women wore it to both cover the face and to stay worn Sahkgat was worn by low-class women for its convenience. Junmo was elaborately decorated and showy, and it was worn by courtesans. Garima was worn by courtesans or professional women in medicine, and unlike other type of veils, it showed the face of the wearer.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.3
• /
• pp.76-98
• /
• 2023

The results of analyzing the outfits of male and female characters depicted in the "Hoehonryedocheop" (回婚禮圖帖, Deoksu 6375) held by the National Museum of Korea and estimating its production date of the "Hoehonryedocheop"are as follows. Firstly, an elderly groom is depicted wearing a patterned heukdanryeong (黑團領) with rank badges, a garment commonly donned by government officials in works such as "Jeonanryedo (奠鴈禮圖)" and "Gyobaeryedo (交拜禮圖)". And the old groom in "Heonsuryedo (獻壽禮圖)" "Jeobbindo (接賓圖)" and "Jungroeyeondo (重牢宴圖)" is shown wearing a jarip (purple hat) without a paeyoung (ornamental jewelry strap), accompanied by jade colored robe with a red strap belt. Gireokabeom (雁夫) is observed wearing a jarip (紫笠) adorned with a paeyoung (貝纓) and a patternless heukdanryeong with rank badges. Adult male descendants are depicted wearing dopo (道袍), while guests wear dopo, cheolrik (帖裏), and jikryeong (直領), accompanied by red and blue straps denoting their social status. Jingssi (徵氏), sidong (侍童), and young grandchildren are observed wearing jungchimak(中赤莫). The young servants are wearing jungchimak, and the boys carrying the food have braided their hair and worn sochangu (小氅衣), while adults servants wore jeonrip (氈笠) and sochangui. Performers are seen clad in a sochangui, jeonbok, and a blue sash around their waists. Secondly, the elderly bride is portrayed wearing a keunmeori (ceremonial headdress) and a green wonsam (圓衫) in "Gyobaeryedo," while in "Heonsuyeondo," she is depicted in a blue skirt and a jade colored jeogori (赤古里). Women descendants are shown adorning headdress decorations, such as binyeo(簪), banja(斑子) and pearl daenggi (眞珠唐紒) on their eoyeomeori (於于味, ceremonial headdress). They are further dressed in skirts of navy, red, and jade hues, paired with various-colored jeogori. Additionally, a woman wearing a navy skirt and a green jangot (長衣) is also depicted. The dongnyeo (童女, unmarried women) wear beolsaengmeri (娘子雙髻), headdress) with long binyeo and long dodaik-daenggi (都多益唐只). They wear chilbo-jokduri (七寶簇頭里) and a red skirt with a green hoejang-jeogori (回裝赤古里). Bija (婢子) wears garima (加里亇) on her eoyeomeori and is seen dressed in skirts and jeogori resembling those worn by noble women, albeit with lighter colors, shorter skirt length, and a subdued volume. Ginyeo's attire bears similarities to that of noble women, although with a dress with less vibrant tones and devoid of decorations on the eoyeomeori. Thirdly, based on the main character's jarip, along with the cheolrik and jikryeong worn by the guests, as well as the performances by musicians of the military camp, it is suggested that the main character of the 60th wedding anniversary is connected to the Ministry of Military Affairs or the military camp. Judging by the military band's short-sleeved vest, the silhouettes of the women dress, and the headdresses, it is likely that the "Hoehonryedocheop" was produced between the 1760s and 1780s.