• Proceedings of the Korea Society of Costume Conference
• /
• 2002.05a
• /
• pp.23-23
• /
• 2002

• Journal of Digital Convergence
• /
• v.10 no.7
• /
• pp.237-243
• /
• 2012

Human beings were constantly developing and using tools. This implies the history of humans have been creatively maintained and developed. Humans put its utmost efforts to the development of civilization to lead better life at the same time constantly pursuit to the cultural development such as formative characteristics for the satisfaction of aesthetic needs. Gyubang crafts are regarded as extremely feminine and contained emotions of Korea while being classified as a genre of Korean culture & art. Gyubang crafts were created independent & unique formative beauty on the basis of then social, cultural, religious background, in which those sewing kits being called friends of ladies express the emotion of arts contains cultural depth of its appearance of life as well as its spiritual world of happiness, anger, sorrow and pleasure of ladies. And it was aimed to sought the possibilities to start itself in various ways under the assumption capable to be expressed detail & contemporary taste of the sewing kits that lived together with the ladies in their historic life through linking with ornaments arts with convergence and harmony of formative image. As stated, it could be an opportunity to rediscover the formative characteristics, harmony of convergence, elegance, delicacy, aesthetic beauty focused on sewing kits among Gyubang crafts filled with ladies' scant and spiritual hope and to be re-understood the excellence and the aesthetic beauty of traditional culture & arts through personal ornaments.

• The Korean Publising Journal, Monthly
• /
• s.229
• /
• pp.10-11
• /
• 1998

• 주택과사람들
• /
• s.192
• /
• pp.6-7
• /
• 2006

• Journal of the Korean Society of Costume
• /
• v.52 no.8
• /
• pp.87-98
• /
• 2002

Recently, we consist in the crucial juncture have to develope culture goods which is worth standing for our nation's endemism. In this vein, this study tried to reproduce and apply it to the present time by the consideration of various elements such as the kind, the use and the fabrication of sewing craft-works was beloved in women's quarter called Kyubang in the Chosun dynasty. With this, this study was designed to develope craft-works which can make an appeal to foreigners with the merits between contemporary factor and traditional factor. The findings of this study were as follows; First, since economic system in the Chosun dynasty was based on home handicrafts and self-sufficiency, it was a commonplace of the Chosun dynasty that home industry such as sewing, spinning and sericulture was thriving among all the women without social ladder. And also, since women of the day were governed by confucian tradition and moral obligation, they mainly have to live in women's quarter called Kyubang restricted to visitors. For the reasons, Wives of the time have no choice but to spend their time by sewing in the promotion of virtues for woman. In additions, they made an effort to pray for the longevity, the wealthy and the fertility of their family members. Second, the sewing instruments is necessary for women's sewing. And also, since sewing instruments was considerably scientific, efficient in those shape and structure, this instruments could save wives a lot of trouble. Third, since many people were convinced of the functions as practicality as well as fanciness, the sewing craft-works were very useful to them in leading their daily life. Fourth, the reappeared works were a total of 22, and the applied works were a total of 17.

• Journal of Fashion Business
• /
• v.13 no.1
• /
• pp.67-81
• /
• 2009

The culture of each era make their own art, and it is certain a sense of beauty is changed according to a flow of era. We can find an unique beauty in the traditional culture of one era. And it is formed by the local and climatically influences according to their own ethnic character. Furthermore, an unique beauty is became an important element in forming the culture. That is, it is the universality in general. What is important is to develop of one's tradition on the background of the past for the future. This study is focused on the personal ornaments of women's Gache among the Cyubang culture in Chosun era. Throughout the study of clothing design that applies various decorative elements like an ornamental hairpin, a chignon ornament, and ttoljam among the women's Gache, this study is proposed to internationalize of clothing design utilizing the Korean specific character. The concepts of this study are as follows : First, grasp a definition and notion about Gyubang Culture of Chosun Era. Second, consider the definition of ornamental culture and the specific characters and kinds of women's ornaments. Third, analyze the trend and examples in the modern fashion applying women's ornaments. The method of this study included national science and literature, fashion magazines, newspapers, internet, and the research of like materials, with the intent to set a foundation for understanding ornamental design. Throughout these backgrounds, I try to develop and make six modern clothing design that applies women's Gache.

• Journal of the Korean Society of Costume
• /
• v.59 no.3
• /
• pp.109-130
• /
• 2009

This study examines the rotor characteristics of Guybang culture (women's living in Joseon) relics which the life images and mental world of women in Joseon if expressed to prepare rotor data to be utilized in modern design and information for color identity establishment of Korean women culture. The result of this study is as following: 1. From 176 pieces of relic photos, total of 1380 color chips were extracted. For color analysis, 1368 units (99.1%) of color data excluding achromatic 12 units (0.9%) among 1380 units of colors were used. With the standard of 10 color wheel of Munsell Color System, the result of studying distributions according to frequency, red was the highest by 25.9%, yellow was 21.4% in women's goods in Joseon period which the ratio of red and yellow was 473%. Other than that, GY 14.6%, YR 11.3% and RP 11.1% followed next which is studied that the warm colors that conveys enjoyable and glamorous feelings composed 84.3%; 2. As a result of tone analysis, high value low chroma ltg color showed highest distribution of 20% and d was 12.2%, b was 11.7% and sf was 8.8%. Generally, it showed high frequency in high value cocors such as ltg, sf and b of 40.5%t and in low chroma (ltg) and medium chroma (d, sf) of 41% and colors in bright and calm image was used the most. 3. As a result of analyzing relationship between hue & tone, the ltg tone of Y close to white in traditional color sensibility showed the highest frequency of 9.6% and ltg tone of GY(6.4%), b tone of RP(6.1%), and v(5.4%), b(5.4%), dp(5.3%) of R followed next. 4. As a result of analyzing the characteristics of coloring, it showed that in case of coloring contrasting hues, it is adjusted similar tones and in case of coloring less contrasting hue, the difference in tone is adjusted to be rather large to make harmonized coloring. Moreover, in case of coloring similar hues, the ratio of using same tone and similar tone was large which the coloring of calm image and dynamic image is all used.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.14 no.3
• /
• pp.205-216
• /
• 2012

Korean traditional wedding ceremony was conducted with some regular procedure and there were used special Gyubang crafts for wedding ceremony. Nowadays there is common the western style wedding ceremony and then the use of wedding Gyubang crafts have being decreased. Purposes of this study are to investigate characteristics of and to propose some idea of preservation and application them in the life of today. The results are as follows; Wedding Gyubang crafts can be classified Bojagj(wrapping clothes), Jumeony(cloth bags), ornaments, items related to sewing and others. They were apt to be traditionality, symbolism and shamanism, and were superior in aesthetic sense, the effect of decoration and technical skill. So there was needed preservation them. Some way of preservation and applications them were suggested ; alternation in keeping with modern needs, use of ornament, alteration in present-day life, application their image to Korean cultural products, textile design and so on. Several works were developed by ways suggested and exhibited in order to arouse new understanding Wedding Gyubang Crafts to public.

• Archives of design research
• /
• v.17 no.4
• /
• pp.375-384
• /
• 2004

The general tendency of approach to Korean Design History has been focusing its primary interest on the grand story in relation to the problems of modernization in political, economical and social aspects of Korea. In the discourse of modernization, however, there are two sides immanent in the modernization: there is the formal, institutional and authoritative modernization developed inside the capitalistic mode of production and the informal, individual and cultural modernization manifested in the mode of everyday lives. Especially, despite the viewpoint of the latter being embossed as an alternative approach in various areas including the academic world of history since the collapse of socialism, the historical recognition of the phenomena of modern design by the Korean design historians is more like the 'history from the above' that exists at the level of the discourse outside the reality rather than the 'history from the below' that exists within the ordinary life. To grant a sense of balance in such frame of historical understanding, it requires the restructuring the design history of Korea through the cultural perspectives from having the representation of mundane lives realized by the voluntary design activity of the common people as research subjects. One of the methods to acquire an answer to such problem is decoding, in the manner of 'cultural history', the life-long domestic artifact made by Madame Yang, Gap Jo (currently 87 years of age) who is a model of typical Korean mother. Through the historical rumination on the traces of unpretentious lives of the people that has been buried under the grand narrative of the Korean Design History, a new era aimed for the historical prospect of Korean design as cultural history will be possible by excavating the petit yet multi-layered meaning of Korean designs.

• (The)Study of the Eastern Classic
• /
• no.54
• /
• pp.183-211
• /
• 2014

This article is to search the aspects of realization and the characteristics of Gasa, Sijo, Japga among the Korean poetry genre based on Chohan-gosa. Chohan-gosa is a basic literary and historic discourse for the medieval intellectuals. The story had been realized its own literary value at almost every genres such as Chinese literature, novels, Gasa, Japga and Sijo etc. I focused on Gasa, Sijo and Japga among the genres in this article. First of all, I subjected to Wumiin-ga enjoyed in a area of boudoir culture from Gasa based on Chohan-gosa. I catch the meaning that the text has a characteristic that popularized history and normative ideology are mingled in through it. In the case of Sijo, I focused on the Sijo which Xiang Yu is appeared in because Xiang Yu has been most quoted person from people of Chohan-gosa. Xiang Yu was described as a strong man[hero] or a man who part with the beauty Wu. I understand that this point is caused by the theatricalized characteristic of the place where Sijo have been played. For the last time, Japga is played with the characteristic of stimulative reediting of the familiar normative ideology. Chohan-ga is based on contexts of former discourse eohan-yeonui but it was not plagiarized. Chohan-ga was organized for the way which attracted the interest of the public and stimulated the emotion of the public through using popular imagery or intensifying the sorrow.