• Proceedings of the Korea Fashion and Costume Design Association Conference
• /
• 2004.06a
• /
• pp.68-72
• /
• 2004

복식은 자연환경을 포함한 각 시대의 정치ㆍ경제ㆍ문화ㆍ종교적 요인과 상호 작용하여 구체적으로 표현되어 왔다. 그 시대의 문화를 표현하고, 시각적 혹은 비언어적(non- language) 상징으로, 즉 복식 그 자체로서 언어의 전달과 상징성을 표현함을 의미한다. 따라서 복식은 지각되는 상황을 규정하는데 도움을 주기 때문에 의복상징이 나타내는 의미를 이해하는 것은 중요하다.(중략)

• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.8
• /
• pp.1322-1331
• /
• 2008

The purpose of this study is to design an official costume of Joseon Ginyeo in the scholar’s banquet in 16th century, thereby making correct historical animation, drama costumes, and various costume contents. Every Ginyeo in and wore a long yellow coat with short front edge. 'Dan-ei', Ginyeo’s court costume, had very similar shape except color and collar, therefore the size of Dan-ei was adapted to design a yellow coat for drama actress. Ginyeo’s Jogori in these paintings was wide and long enough to cover undervelly under the edge of yellow coat, but It was designed more slim and long for better appearence and comfortable movement in my work. A skirt of Ginyeo was designed with circumference of about 360cm and length of about 105cm according as a skirt style of Joseon ladies in 16th century. Ginyeo's Jam(hairpin) was consist of a vase, a plum blossom, and a lotus pattern. And, a wide underpants with a single suspender, portable pouch, Un-hae(women’s shoes) with low heel are needed for drama actress in the role of Ginyeo. In this design, it is very important to save an estimate and time, select suitable mordern fabrics, reform discomportable points, express a charater’s role, and make a trendy appearence.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.11 no.1
• /
• pp.99-109
• /
• 2009

한 후란 중국의 전통 복장을 말하는 것이다. 한 장 (漢裝) 이라고도 하며 고대 복장이라고도 한다. 영어로는 silk robe라고도 한다. 한 후는 한 나라 이후 명나라까지 만주가 정복하기 전인 1644년까지 입혀졌던 중국의 전통복장이다. 최근 중국에서도 전통복장에 대한 새로운 모색이 일어나고 있다. 중국 전통복식으로 대표되는 치파오는 만주족의 한족 말살 정책의 일환으로 간소화시킨 복식이다. 따라서 중국 전통의복은 만주족에 의해 사양길을 가기 전 고대 한 조의 복식이 중국전통을 대표한다고 할 수 있다. 전통적인 한 후 스타일은 벨트를 매며 여밈이 있고 좁은 소매 혹은 넓은 소매가 특징이다. 한 족이 한 나라, 상 왕조, 송나라, 당나라때 입었던 한 후가 중국의 복식을 대표하는 복식이며 주나라의 쉔의는 튜닉과 스타일의 결합으로서 아직도 상류그룹이 입고 있다. 당나라에서는 동방의 문화와 혼합되어 화려하거나 사치스럽게 수정되었고 만주가 침범하여 한 후는 더 이상 전통복으로 입히지 못하였다. 한 후의 현대적 의미를 볼 때 역사적으로는 베트남에서 기모노에 이르기까지 그 원형을 볼 수 있고 한 후를 통해 중국전통 복식의 원류를 찾을 수 있다. 연구방법으로 문헌과 시각자료를 활용하였다. 한 후의 현대적 의미는 전통의 새로운 자각과 세계화 현대화의 노력이라 할 수 있다. 치파오로 규정된 중국복식에 반해 전통 한 후에 대한 올바른 인식과 활용은 세계화와 오리엔탈이미지에 녹아 있는 한 후 디자인 디테일을 통해 현대적 모색을 활용하고 있다. 충분한 시각 자료가 부족하지만 현대적 노력이 앞으로의 중국이미지의 재고를 가져올 것이다.

• Journal of the Daesoon Academy of Sciences
• /
• v.16
• /
• pp.217-226
• /
• 2003

당시(唐詩)에는 당나라 사람들의 생활상이 많이 반영되고 있으며, 이러한 기록들은 많은 부분에 있어서 역사서적의 내용과 일치하기도 한다. 그러므로 우리는 당시를 통하여 당나라의 제도 뿐만 아니라 당나라 사람들의 생활도 광범위하게 이해할 수 있다. 본 고에서 우리는 당시에서 언급되고 있는 당나라 사람들의 복식에 있어서 몇 가지 문제들을 간략히 서술하기로 한다. 당대 초기에는 수나라 복제를 따랐으나, 태종(太宗)과 고종(高宗)을 거치면서 품급에 따라 복색을 구체적으로 구분하였으며, 여자들도 남편의 복색을 따랐다. 황색을 황제의 복색으로 한 것은 고종 총장 원년(668)에 시작되었다. 고종 상원(上元) 원년(674)에는 또 관원의 품급에 따라 색깔의 짙고 옅음을 엄격히 구분하였을 뿐만 아니라 요대의 장식물 재료에도 상세한 규정을 함으로써 신분의 차이를 더욱 구체적으로 구분하였다. 관복의 색깔로 등급의 차이를 구별한 외에도 5품 이상의 관원에게는 어부(魚符)를 담는 어대(魚袋)를 차고 다니게 함으로써 귀천을 분별하였고, 조정의 부름에 응하는 부신(符信)으로 삼았다. 어부는 물고기 모양으로 관등에 따라 금(金)·은(銀)·동(銅)으로 만들어 몸에 지니고 다녔다. 관원들은 갓의 모양으로도 귀천을 구분하였다. 귀족을 갓을 썼으나 평민은 쓰지 못하였고, 문관과 무관도 갓을 각기 달리하였다. 당시에는 또 여자들의 복식과 관련한 묘사도 상당히 보인다. 당나라 때의 여자들은 한(漢)나라 진(晋)나라 때와 마찬가지로 일반적으로 윗옷과 치마를 입었다. 치마는 가슴에서 동여매었고, 그 길이도 매우 길어 땅에 3촌(寸)까지 끌렸다. 여자들은 대개 상의(上衣) 밖에 이른바 반비(半臂)라는 반소매의 옷을 입었다. 본래는 궁녀들이 일하기 편리한 복장으로 입었는데, 후에 점차 여자들의 평상복이 되었다. 여자들의 눈썹과 머리형에 관해서도 당시에는 많이 묘사되고 있다. 여자들의 머리장식과 화장 그리고 몸의 각종 장식구에 대해서도 당시에는 상당히 언급되고 있다. 당나라 여자들의 복식에 있어서 가장 큰 특징은 국내 소수민족 및 외국의 복식에 영향을 받아 "호복(胡服)"을 즐겨 입었다는 점이다. 이른바 "호복"은 서역만을 가리키는 것이 아니라 주변국들의 복장도 가리킨다. 여자들이 쓰는 모자와 신발에도 많은 변화가 생겼다. 당나라 중원지역에는 "만화(蠻靴)"를 신는 여자들이 생겨났으며, 이것은 호복의 하나로 호화(胡靴)라고 칭하기도 하였다. 여자들의 미와 상대적인 자유에 대한 추구는 당시에 강렬히 나타나고 있으며, 이것은 당나라 여자들의 사상이 점차로 개방화되고 있음을 시사해 준다. 이러한 개방의 과정은 당나라 사회의 개방과 사상문화의 교류·진보와 밀접히 관련하는 것이다. 그래서 당나라 사람들의 복식에 대한 당시의 묘사는 우리가 당나라 사회와 사람들의 생활을 이해하는데 중요한 단서가 되고 있다고 말할 수 있다.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.1
• /
• pp.142-160
• /
• 2023

The position of the people who participated in the Bapyo Ritual held in the reign of King Sejong and the corresponding costumes were examined. The king, who was the executive body of the ritual, wore Myeon-Bok, a court dress, and Myeon-Bok was Gujang-Bok made of Jang-wha on Guryu-Pyeongcheongwan. Crown princes, royal families, and government officials wore Oryang-Gwan and Jekraeui, which were Jobok. The crown princes' Joboks were changed from Oryang-Gwan to Wukryang-Gwan in the dynasty year 10 of King Sejong, and in the year of King Munjong's accession, Myeon-Bok was received, and after King Danjong, the crown princes wore Palryu-Pyeongcheongwan and Chiljang-Bok. Diplomats and Jongsagwan who were the envoys wore Sangbok. A Sangbok worn by the diplomat was Samo with Danryeong, Seo-Dae, and Hyeopgeum-Hwa, and a Sangbok worn by Jongsagwan was Samo, Danryeong, Heukgak-Dae, and Heukpi-Hwa. Byulgam, who served as an attendant to the king in the king's close quarters, wore Gongbok and Sangbok. Gongbok consisted of Ja-Geon, Danryeong and Heukpi-Hwa, and Sangbok consisted of orange color Cho-Rip, Jikryeong, Joa, and Heukpi-Hwa. The person holding San, Gae , Sujeongjang, and Geumwolbu wore Ja-Geon and Cheong-Ui, and Seon wore Pimoja and Hong-Ui. Siwigun wore armor and helmets equipped with weapons. Among court musicians, Aksa's costumes consisted of Bokdu, Bigongbok, Geumdonghyeokdae, Bibaekdaedae, and Opiri, and Aksaeng's one composed of Gaechaek, Bisuransam, Hyupgo, Mal, Maldae, and Opiri. As a result of the above, the process of ceremonial clothes becoming uniform clothes in the reign of King Sejong was confirmed. The king and lower-ranking officials such as crown princes, government officials, diplomats, Byulgam, armies for ceremonial weaponry, and court musicians participating in the Bapyo Ritual wore the highest grade of ceremonial clothes for each class. King Sejong had repeated discussions to build a nation based on Confucianism, and arranged each rite and corresponding costume, and the Bapyo Ritual costume was also systematically prepared for each position. The ceremonial clothing organized during the reign of King Sejong was regulated in Yejon and became the basis for continuing to the late Joseon Dynasty.

• Journal of the Korean Society of Costume
• /
• v.67 no.2
• /
• pp.17-35
• /
• 2017

The purpose of this study was to present empirically the factors in appearance management behavior, the differences in appearance management behavior according to various occupational characteristics and demographic characteristics, and the degree of efforts to manage appearance for workers. The questionnaire was administered to 1,056 male and female workers in 10 occupational categories in Korea. Data were analyzed using descriptive statistics, factor analysis, analyses of variance (ANOVA) and chi-square tests. The results of the study are as follows. First, the factors of workers' appearance management behavior consist of 'appearance management for decoration' and 'appearance management for a good feeling'. Workers perform appearance management behavior for a good feeling more than appearance management behavior for decoration. Second, there were statistically significant differences in the appearance management behaviors of the workers according to occupational categories, the size of the organization, the presence of the dress code in the workplace. Third, there were statistically significant differences in the management behaviors of workers by gender of demographic characteristics. Fourth, the largest number of monthly average expense for appearance management was 100,000~300,000 won (44.1%), and the largest number of daily average time for appearance management was 30 minutes~1 hour (45.5%). This study presents the tendency of appearance management behaviors according to the occupational characteristics and demographic characteristics of workers and helps the marketer in the appearance industry understand the target customer clearly.

• Korean Business Review
• /
• v.17 no.2
• /
• pp.111-129
• /
• 2004

The purpose of this study is to indicate problems of accounting for social welfare corporations and to suggest the improvement on them. To accomplish this objective, this study reviewed the existing relevant studies and literatures. The main results of this study are summarized as follows. First, it is necessary to convert from cash basis accounting to accrual basis accounting and to introduce the double entry bookkeeping. Second, it is needed to capitalize the tangible fixed assets and to depreciate them. Third, Cost accounting is necessary to evaluate the operating results. Fourth, it is necessary to establish the generally accepted accounting principles in consideration of the characteristics of accounting for social welfare corporations. Last, it is necessary to introduce the external audit system to ensure the reliability of accounting information.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.3
• /
• pp.142-163
• /
• 2020

In the early Joseon dynasty, the meritorious vassals' portrait of Jeokgae (1467, 1476), Jeongguk (1506)·Jeongnan (1507), and Wisa (1545) were defined as the 2^nd period of the official uniform, in which the acheongsaek HeukDanryung appeared and settled. A total of seven portraits were analyzed, including three portraits of Jeokgae (1467, portrait production 1476) Son-so, Oh Jachi, and Jang Malson, and four portraits of Jeongguk (1506)·Jeongnan (1507) Yoo Sunjung, Hong Gyeongju, Lee Woo, and Yoo Hong. In the portrait of the Jeokgae wearing a Yebok HeukDanryung, in the case of the Samo, the height of the Samo, which had been raised at the beginning of King Seongjong, was lowered again, and the parietal part was rounded. The pattern was not expressed on the wide oval side wings of the Samo. In addition, the pattern was not expressed on the acheongsaek Danryung, Dapho, and Cheolrik. The colors of Dapho and Cheolrik were unified in green and red, respectively. The Mu of Danryung and Dapho was expressed as 'in and out wrinkled Mu', and the shoes were expressed in Baekhwa. Another feature is that the Jeokgae's portrait is expressed not as the Pumgye at the time of appointment, but as the Pumgye of the portrait production time. In the portrait of the Jeongguk·Jeongnan wearing a Sibok HeukDanryung, the height of the Samo lowered from the Jeokgae was maintained, while the parietal part was slightly narrowed and bent forward. The side wings of the Samo were expressed as an oval with a uniform width, and still the pattern was not expressed on the side wings. The pattern was not expressed in the costume of the Danghagwan's portrait, but the cloud pattern began to be expressed in the costume of the Dangsanggwan's portrait. And the Danryung was expressed as single Danryung without lining. In the portrait of Dangsang, the red Dapho and green Cheolrik were expressed, and in the portrait of Dangha, the green Dapho and blue Cheolrik were expressed. Therefore, it was found that the color of the undergarment was distinguished according to the Dangsang and Dangha. In Danryung and Dapho, the 'in and out wrinkled Mu' were maintained. The shoes were expressed in Heukhwa, and the rank badge and rank belt reflect the Pumgye at the time of the appointment. On the other hand, the portrait of Wisa could not be confirmed, but through the recording painting of the reign of King Meongjong, it was found that it was similar to the Danryung system of the reign of King Jungjong. Through the 2^nd period of the meritorious vassal's portrait of Jeokgae, it was confirmed that the HeukDanryung outfit began to be used as the official uniform of the meritorious vassal's portrait, and that the Pumgye of the portrait production time was reflected in the portrait. After the meritorious vassal's portrait of Jeongguk, the pattern began to be expressed in the costumes, and in particular, it was possible to distinguish Dasang and Dangha by the presence or absence of the HeukDanryung's pattern. In addition, it was confirmed that the expressed aspect of the official uniform was consistent with the practices and regulations at the time.

• Korean Journal of Heritage: History & Science
• /
• v.51 no.4
• /
• pp.44-65
• /
• 2018

This study examined the costumes of the characters in the painting titled Hig yongru Banghwoedo, which was designated as National Treasure No. 1879 in September 2015, and is currently kept in the Dongguk University Museum. The painting depicts a social gathering of Joseon aristocrats held at the higyongru, or watch tower, of the Gwangjumok, a government office, in 1567. It is characterized by the delicate illustration of the government officials, the main characters of the gathering, and the hyangri, ajeon, najang, chorye, akgong, and yeogi, the lower-class employees of the office. In order to investigate the costumes they wore, diverse materials including literature, costume artifacts, and paintings were used as reference sources. The scope of the study was limited to the characters' headdress and gown, and the accessories attached to the former. The study of men's clothing revealed that officials wore a samo and a red dalryeong as basic attire. In addition, it is presumed that they wore a belt indicating their official rank in the hierarchy, and a pair of black shoes. Retired officials wore a heuklip wrapped in horsehair or silk fabric with a red jing-nyeong and a doah. The hyangri wore a heukjukbanglip on their head, as well as a white jing-nyeong and a belted doah. In the Goryeo period, the banglip was a type of official headdress worn by members of the aristocratic elite ranked immediately below the king, but in Joseon it was demoted as the official headgear of the hyangri class, which was confirmed through Higyongru Banghwoedo. The ajeon wore a heuklip on their head, and a white jing-nyeong and a doah at the waist. As a rule, the najang wore a chogun on the head, and a banbieui on cheolrik and chungmokdai, but the najang in Higyongru Banghwoedo are depicted wearing a chogun and a cheolrik without a banbieui. Also, the chorye wore a heuklip wrapped in hemp cloth with a red cheolrik, whereas the akgong wore a somoja and a red cheolrik. Female entertainers, both adults and children, are depicted in the painting as either serving the aristocrats, dancing, or playing a musical instrument, wearing their hair in a voluminous, round, high bun, and dressed in a red daiyo, a hwangjangsam with a straight or reclined collar, and a belt. Notably, the donggi, i.e. young gisaeng, are shown wearing their hair in two short braids, and ddressed in a red gown with a y-shaped collar, or po.

• Journal of Korean Home Economics Education Association
• /
• v.3 no.1
• /
• pp.147-161
• /
• 1991

The purpose of this study was to investigate the following contents： 1. Relationship between clothing behavior(modesty, conformity, importance) and clothing regulations of school girls. 2. The differences between middle school girls and high school girls in clothing behavior and in attitude toward clothing regulations. 3. The differences between students herself norms and subiective norms(the students thoughts which would be parents opinions and teachers opinions) in attitude toward clothing regulations. Questionnaires were designed and administered to 300 middle school girls and 302 high school girls in Inchon. The obtained data were statistically analyzed by Pearson’s correlation coefficients, t-test, F-test, and Duncan test. The results of the study were summarized as follows： 1. As tho the differences in responses between school levels, the high school girls showed higher interest in conformity. But there is no differences in Modesty and Importance by school levels. 2. As tho the differences in responses between school levels, there were no differences in attitude toward clothing regulations. But according by types of clothing regulations, high school girls showed higher desire in shoes and sack. 3. In correlation coefficients between the variables on clothing behaviors and the attitudes toward clothing regulations of school girls, modesty is the most related toward clothing regulations of school girls and conformity, importance the next. The higher the school girls are in modesty, the more follow the clothing regulations. And the higher the school girls are in conformity and importance, the lower follow the clothing regulations. 4. The differences between students herself norms and subjective norms(the students thoughts which would be parents opinions and teachers opinions), students and parents showed lower scores than teachers. That is tho say, teachers put more restrictions on students clothing than parents do.