• 패션비즈니스
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• 제7권4호
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• pp.142-154
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• 2003

This study was conducted on the costume of the 6 minorities dwelling in Guizhou Province of China. The result of the study is summarized as follows. As Guizhou Province yields much silver, most of the minorities used silver ornaments a lot and dyed their garments by using indigo extracted from plants that grow in the area. The headdress was of style that for both men and women a long cloth is wound around a head in various ways. In some cases, women used cow's horn, pearl and silver ornaments. Most wore a short upper garment such as blouses with overlapping necks or blouses with diagonal on the front, and as a lower garment men and women wore trousers and skirts, respectively. As a way of ornament, embroidering, wax printing and weaving were commonly used, but pattern and color used in the ornament varied depending on the individual minorities.

• 한국의류산업학회지
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• 제5권1호
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• pp.34-42
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• 2003

Hair styles vary greatly and are an integral part of the Miao women's costume, often denoting marital status. The hair style was expressed in various styles by using Kokye. Chukye and Byunbal. Hair is swept in to buns and knots of varying size or arranged in huge structures supported with extra hair or wooden pieces. The hair ornament was expressed in various styles turban and hat. Some groups use a turban as an integral part of the style that is wrapped round the head in a specific way. Silver ornaments occupy an important position in the bright and colorful attire and personal adorment of Miao women's in Guizhou. Silver horns, silver crowns, silver hats are peculiar to Miao women's hair style. They are also indispensable hair ornaments of Miao women's. festive dress in Guizhou.

• 한국의류산업학회지
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• 제4권1호
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• pp.31-39
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• 2002

The analysis revealed that the pattern represent the function of written language, the Miao's idea of nature as tie object of worship and exorcism, and their primitive thinking. The patterns are chiefly embroidered collars, shoulders of blouse, waist blind and hem lines of skirt. The design of patterns are animals and plants and geometrical figured. Most of patterns are dragon, fishes, birds, butterflies, which are liked by the Miao people. The patterns are highly imaginative and true to life, and are made with strong national and popular features.

• 한국의류산업학회지
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• 제3권1호
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• pp.53-60
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• 2001

The Miao nationality is one of China's major ethnic group. The Miao traditional costume, as an ideographic symbol of the Miao people, have preserved its unique characteristics up to the present time. Historically there were many old names given only for ciothings, still they have reflected the complexities of the ciothings of the Miao people. The southeast Guizhou (Qiandongnan) modal of dress and ornament are fashionable in countries in the valley of Qingshui River such as Taijiang, Kaili, Leishan, Jianhe, Huangping, Shibing, which are densely populated with the Miao nationality. Women's traditional wear for the most part consists of a short coat with straight sleeves and the left lapel of the collar overlaps the right one (In some areas, the right lapel overlaps the left one). For lower garments, they wear long or medium sized pleated skirts, broad waistbands and leggings. Their attire may be of the same style, but there exist marked regional differences and distinctive features in dress materials, workmanship, contents and variety of designs and colour matching, as evolved from tradition. Merely from the embroidering skill and the materials used, one can judge where the dress is made.

• 한국의류산업학회지
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• 제3권2호
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• pp.115-123
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• 2001

The dress and ornaments in the Taijiang were fashionable, which were densely populated with Miao nationality. Women's traditional festive dress in Taijiang included an embroidered blouse and a pleated skirt. The garments are decorated with plenty of ornamental designs. The colours of festive dress were as rich and gorgeous as those of fashinable desses. Embroidery was very popular in Taijiang and its principal feature is embroidery with loose, coloured floss silk. The image of patterns changed ingeniously and colourfully but do harmony. In the using of colour, one kind of the festive dress was in the main red, which means a bright dress. The colour of another kind of festive dress was blue, which means a dark dress. There were many kinds of silver ornaments for women. Taijiang was most outstanding in this respect. The great variety of silver ornaments was a unique feature of women's dress in Taijiang.

• 한국의류산업학회지
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• 제6권3호
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• pp.307-313
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• 2004

The Purpose of this study is to investigated characteristics of many pleated skirt of Miao women's Guizhou province in China. The method of this study is referd to sundry recordes and demonstrated traditional clothing of several region in Guizhou province. The most important characteristic of the costume of the Miao is the many pleated skirt, worn by most but not all groups. Pleats are pulled into place with a sharp pointed instrument and sprinkled constantly with starch. The length of the pleated skirt depends on the group. The long skirts reach to the ankle, the medium-sized to the shank and the short ones not below the knee. The design of the pleated skirt is simple but most pleated skirt ornamented with fine, cross-stiched or batic designs of geometrical figures. The figures decorated on the pleated skirt has been handed down with little change from generation to generation and has become an important mark of Miao women's each area. Seeing the many pleated skirt of Miaos investigated in these several respects by the standard of contemporary beauty, it is thought that it has the infinite possibility of being used in contemporary fashion design on account of the characteristics of almost perfect costume.

• 복식
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• 제52권1호
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• pp.21-36
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• 2002

The Miaos have their own unique and luxurious culture traditional and modern formed as they have experienced repeated fusion into and resistance against the Han Race or the Chinese in their long and old history. Taijiang County of Guizhou Provice, in which whey have been living, is endowed with natural beauty. Thus their culture enjoys abundant and diverse contents of artificial and natural character. Naturally, their costume reflects cultural and natural features in abundance and variety. This dissertation aims to investigate the artistic character of Miaos' traditional costume as reflected in patterns for their embroidery. As for the artistic character of the patterns for embroidery, the following were found. To begin with, the space in the Miaos' embroidery is, unlike the measurable three-dimensional space found in Greek art, unmeasurable and fantastic with its beauty, majesty and peculiarity. It is as if immersed in limitless space, they were in communion with gods and universe. Another characteristic is the use of image construction beyond mere imitation. Their mode of image construction was realistic in that patterns as a whole reveal an abstract form or meaning but separately they portray visual representations of concrete thins in nature. Still another is that sense of motion conveyed by the basic curve line is full of life. It was the result of using light rhythm breaking stereotypic balance and symmetry. Finally, the colouring was abstract, and a strong contrast between black and white was gorgeous and fantastic.

• 패션비즈니스
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• 제15권2호
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• pp.23-38
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• 2011

This research is to examine the formative of patterns and characteristics of expression in Danzhai Miao batik of Guizhou China and to reveal the cultural factors and characteristics of artistic expression inherent to it. As the research methodology, theoretical study was done by utilizing the preceding research data, literature data at home and abroad, photo data, and Internet data, and as the empirical research, field trip was made to Guizhou China and investigation and experiment of dyeing techniques, purchase of dyeing craftworks, photography shooting, and interviews were conducted. The results of this research showed that ancient Chinese batik began in Miao in the Jinhan era and the three types of Miao's traditional batik, i.e. Danzhai batik, Huangping batik, Anshun batik. Danzhai Miao batik obtained indigo blue white patterns through traditional production techniques and natural dyeing batik and represented Miao batik of Guizhou. In the expression of Danzhai Miao batik, based on the cultural backgrounds, the formative such as symbolic of patterns, tradition, primitive, reality, abstract, and decorative of dress designs and high dignity of artistry of creative batik patterns be found from the aspect of expressing magnanimous nationality.

• 한국환경복원기술학회지
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• 제13권5호
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• pp.180-188
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• 2010

This study was carried out to evaluate the analysis of environmental change (forest resources and soil water conservation by land types) after planting for prevention of between 2003 and 2006 from the stone hazarding areas in Guizhou province, China. Mean diameter growth of the trees was highest for Melia azedarach, followed by Robinia pseudoacacia, Lonicera fulvotomentosa, Choerospondias axillaris, Cupressus duclouxiana, and Eucommia uimoides Oliv. Mean height growth of the trees was greatest for R. pseudoacacia, followed by Ilex kudincha, M. azedarach, C. duclouxiana, C. axillaris, E. uimoides Oliv, Zanthoxylum bungeanum, and L. fulvotomentosa. Tree biomass was greater at the afforestation sites by 1.22-1.71 ton/ha compared to that of severely eroded mountain areas. The capacities of soil water conservation by land types were 2,790 ton/ha at latent rock desertification farmland, 2,655 ton/ha at rock desertification farmland, 1,680 ton/ha at dolomite sandstone hilly country, 1,650 ton/ha at halfstony hilly country, and 1,590 ton/ha at karst physiognomy site. Soil erosion was estimated to be 1,285 ton/$km^2$ which had been 2,178 ton/$km^2$ before afforestation. Also, we should be continuative manage after planting for prevention of the stone hazarding areas in Guizhou province, China.

• 한국의상디자인학회지
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• 제18권3호
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• pp.57-70
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• 2016

Gutnori(ritual A Comparative Study on Shaman's Costume of south coast Byeolsingut in Korea and the Guizhou Nahui in China play) refers to a play in the form of showing actual appearance of god and actual comedic gag with gutguri rhythm. In order to carry out a comparison between the shaman's costume in Korea and China, this study will delve into the types of shaman costumes that are worn in the gutnoris(mask plays) performed in Korean guts and those of China performed in Nahui. As research method, literature reviews and field surveys have been conducted concurrently. In terms of literature reviews, previous research have been studied centrally. For field surveys, Korean gut, Byeolsingut performance was observed for 2 days 1 night between 1st Feb. 2014-2nd Feb. 2014 in the south coast and Chinese Nahui in Guizhou was observed for 2 days 1 night between 25th Nov. 2014-26th Nov. 2014. By comparing Shaman's costume that is worn in Korean shamanism with that of Chinese shamanism as a partial means of understanding the uniqueness of Korean shaman's costume, the following conclusion was derived upon focusing on the common types of gutnori costumes and organizing them. As a universal trait for shaman's costumes in gutnori and nahui in Korea and China, traditional clothing were worn. A unique trait for shaman's costume in gutnori and nahui in Korea and China, deity expressions were shown in both cases using colors.