• 복식문화연구
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• 제12권4호
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• pp.497-510
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• 2004

This research shows problems of modem Mourning Garments used in Gwangju area compared to traditional ones. Researches are as fellowed; First, items of mourning garments have been not used by degrees. Male has worn Jung-Dan and Du-ru-mak-i as Pyo-Eui of male mourning garments. Second, mourning garments have been simplified and modified. These simplification in shape and uniformity in size are only far Mass production and convenient manufacture. Third, modem mourning garments are made of 6-su (thin) Hemp cloth. In fact this material has no hemp and is just made of cotton and chemical textiles. Even though it is not made of hemp, it has been sold with the name of Hemp Cloth. Materials should be clearly listed. Forth, traditional mourning garments are manufactured through needlework while modern ones through mass production. Now the former is expensive rather than the latter. So Mass produced garments would be preferred to traditional made ones.

• 패션비즈니스
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• 제14권1호
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• pp.106-115
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• 2010

This study's purpose is to, first survey the traditional children clothing, clothing which doesn't get studied mostly. Second, to choose the factor that can modernize. Third, to design the present one-piece dress. Fourth, to gather an understanding about traditional children clothing and make a chance for children to wear the clothing that has a traditional factor. Traditional children clothes have a same shape with adults' clothes they use five primary color and use a pattern of a symbolic meaning which means healthy and long life. For ordinary wears there are Chimajogori and Bajijogori and for ceremonial dresses they wore Durumagi, Sagyusam which are Po and Dangui and headdress was added. The shape was considered by the children growth condition so the Gorum got longer. The dragon, cicadas, butterfly, phoenix and lots of flower pattern was used by the difference with the class. 5 one-piece design adapted Jogori, skirt, Dangui, Sagyusam, Magoja and used the traditional fabric by mixing the five primary color and the five secondary color was used to make traditional color. This study expects for a chance of children to wear traditional Hanbok or Hanbok-adapted clothes.

• 대한가정학회지
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• 제39권5호
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• pp.89-105
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• 2001

This study on Jeung San Kyo, one of Korea's new religions, considered the name, kind, form, color and the thoughts of ritual dress which is involved in 15 religious blanches acting currently according to books and the actual research. The following is below. 1 Each names of ritual dresses called rigious branches are Bob Bok(법복), Doh Bok(도복), Yeah Bok(예복) and Jea Bok(제복). 2 In most religious blanches, ritual dress is the Korean cloths which Poh is wear above and Kwan is put on, and the form of Poh(포) is the similar with Durumagi(두루마기), Danryungpoh(단령포), Jungchimak(중치막), Jikryungpoh(직령포) etc, but not the form of Git, Moo and Yiohmim. Kwanmoh is named Chill-Chung-Kwan(칠층관), Yiun-Hwa-Kwan(연화관), Yiun-Kwan(연관), In-Hwa-Kwan(인화관), Tong-Chon-Kwan(통천관) etc. 3. In most religious orders but Dae Suun Jin Li Hueay(대순진리회), Jeung San Doe Jang(증산도장), Colors are used, white, lightblue, and yellow is used in Jeung San Pop Jong Kyo(증산법종교), Dong Doe Pop Jong Gyum Gang Doe(동도법 종금강도). White color means the mind of a people tradition, and light blue expresses an Oriental nation, namely, “Korea”, and is the color representing Jeung San Kyo, and yellow shows the central religion in the future. 4. Jeung San Kyo ceremony fashion reflects the ideologies of the principal role, the Um and Yang-five elements, and, nationalism according to form, color.

• 복식
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• 제58권1호
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• pp.79-89
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• 2008

Jongga means a head family by only first son's line of each generation. It is our culture's root and identity. It also includes ritual for continuing filial duty. Ritual takes the main role on jongga culture to pay respects to Jongga's ancestors and roots. Therefore, ritual costume's importance can not be neglected. We will check a Po mainly for Jongga ritual costumes' types and designs to refind Jonggas identity and its meaning. In this research, areas are divided to Gyoungsang by Youngnam sect and Jeonla by Kiho sect. Geochang, Andong in Gyoungsang province and Haenam, Namwon, Youngkwang in Jeonla province where currently first sons of Jongga reside have been researched. The method is based on Books and visits on the places. Ritual costumes' types and designs are different between Gyoungsang and Jeonla. Firstly, now in Jongga, only a Dopo and a Durumagi are worn while the manner book shows a Danryoung, a Jikryoung, a Dopo and a Simu. Also costumes are variable on areas. Secondly, a Po is characterized by its sleeve and back-line's inside skirt. In a Po, Gyoungsang has a Duri sleeve and Jeonla has a Duri sleeve which has been changed from a Dunggun sleeve. While Gyoungsang has rectangle-shaped two pieces cloths and a split in a bottom, Jeonla has both a Mu with a split back and a complete split back in back-line's inside skirt. It seems that Youngnam sect's fundamentalism and Kiho sect's flexibility about culture of old political groups would have influenced on these patterns.

• 한국의류학회지
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• 제26권12호
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• pp.1727-1738
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• 2002

세계화, 국제화, 개방화 시대에 살고 있는 우리가 통과의례나 전통 명절과 같은 특별한 행사에 의례복으로 한복을 애용하는 것은 한복이 한국의 문화적 이미지를 강하게 간직하고 있는 한국적 조형물 중의 하나이기 때문이다. 더우기 의례복은 특별한 행사 자체를 위해 착용되었던 만큼 당시대의 내 적 가치를 가장 현저하게 표출하고 있는 복식으로 인정 할 수 있기 때문이다. 본 연구의 목적은 시대 적으로 현대 전통 한복의 기본 형 식을 제공한 조선시대와 그 이후의 복식 중에서 특히 분명한 착용동기와 목적, 복식을 통해 나타내고자 하는 상징성 등을 함축하고 있는 아동용 의례복을 대상으로 복식의 형태, 색채, 문양, 소재 등의 조형 요소를 고찰하는 것이다. 또한 양식적 특성을 살펴보고, 그러한 조형적 특성을 형성시킨 당시대의 사상적 가치를 추론해 보는 것이다. 구체 적인 연구 방법은 먼저 관련된 문헌 고찰을 통한 이론적 배경을 토대로 하여 아동용 의례복의 범주를 설정하고 현재 보전중인 실물과 또는 사진, 풍속화에 나타난 복식 자료들을 수집하였다. 그리고 당시대의 사상적 배경에 대한 고찰을 병행하여 이들에 내재된 문화적 가치를 추출해 보았다. 연구 결과 양식적 특징으로는 남아의 두루마기나 전복 그리고 쓰개류 등에서 기능성을 고려한 변형적 양식이 나타나고 있었다. 색채 역시 음양 보색이나, 오행색을 바탕으로 한 기본색의 구성 이외 에도 소매나 섶에 응용된 색의 배열이나 맞깃 전복의 깃에 나타난 색의 조화는 다양한 색의 조형미를 표현하고 있었다. 특히 색동 등에 나타난 오행색의 배열, 안감과 겉감, 상의와 하의, 외의와 내의에 사용된 색의 조화는 미의식에 관한 문화적 가치를 추론해 볼 수 있다. 더우기 장식 표현에 주로 쓰인 자연물 문양이나 글자 문양은 당시의 지배 사상이 지향하는 덕목 이외에도 전통적으로 내재된 수명과 복록, 부귀와 영화에 대한 내적 가치들을 반영하는 조형적 상징들이라 할 수 있다. 소재는 비교적 계절을 고려하여 사용되고 있었지만 의례적 성격을 지닌 외의나 쓰개류의 경우 계절적 구분을 고려하지 않은 경우도 많이 나타나고 있었다. 장신구의 경우는 많이 사용되는 것은 아니나 역시 상징적 인 가치를 표현하는 실물들을 미적으로 재구성한 사례들이 나타나고 있었다. 이상의 연구를 통해 아동용 전통 의례복은 형태, 색채, 문양, 소재, 장신구 등에서 양식의 다양성과 변형들을 알 수 있었다. 또한 적극적인 내적 가치의 상징들을 복식을 통해 표현하고 있었음을 알 수 있었다. 현대 복식의 디자인에 있어 아동용 의례복에 나타난 창조적인 양식의 변형과 다양성 그리고 복식을 통한 내적 가치의 반영 등이 현대 사회와 조화를 이룬 실질적인 복식 디자인 제시 및 창작에 작은 영감으로 작용하길 바란다.

• 대한가정학회지
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• 제45권1호
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• pp.63-73
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• 2007

Korean children's clothes have unique aesthetic characteristics distinguished from other countries'. Our folk beliefs handed down from ancient times always contained fortune - seeking thoughts and particularly mothers' earnest wishes for the happiness of their children were sublimated into the symbolic beauty of their children's clothes. The present study examined children's clothes in the royal family and among the people for 50 years of the transitional period from the late Joseon Dynasty to modern times, by classifying them into ritual dress for new-born babies, festival dress and everyday dress. Male children's clothes included caps such as Bokgeon(복건), Hogeon(호건) and Gulle(굴레) topcoats such as Durumagi(두루마기), Sagyusam(사규삼) Koija(쾌자) and Jeonbok(전복) and others such as Magoja(마고자), Baeja(배자), Joggi(조끼) and Bajijeogori(바지저고리), Female children's clothes included caps and head ornaments such as Gulle, Jobawi(조바위) and Daenggi(댕기) and others such as Durumagi, Jegori and Chima(치마). What is interesting is that old clothes handed down to the present are mostly boys' and few of them are girls'. This is probably because of the strong preference for boys rather than girls that continued until the end of the 20th century. Ordinary people dressed their new - born babies with simple white clothes until Samchilil (the 21st day) or Baekil (the 100thday) but, for these occasions, the royal family prepared clothes as formal as those for the $1^{st}$ birthday among the public. Rainbow-striped garments were more popular among the public than in the royal family. As rainbow colors were known to Korean people to dispel evil power and bring in fortunes, rainbow - striped garments were essential for the $1^{st}$ birthday and festive days. However, they were seldom used in ordinarytimes, and most boys and girls wore plain jackets and plain topcoats. When children's clothes in noble families were compared with royal family's ones, either handed down to the present or found in old literature, no significant difference was observed in the basic composition of everyday dress. In particular, it was found that Andong Kim's family had dressed their children with very formal dress such as Dopo and Sagyusam. Among children's clothes, the most gorgeous one was that worn on the $1^{st}$ birthday, and those for other occasions or festive days were similar or simpler. Colors, patterns and designs used in decorating children's clothes mostly had the meanings of seeking fortunes for children such as long life, wealth and prosperity.