• 한국생활과학회지
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• 제5권2호
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• pp.208-210
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• 1996

• 대한가정학회:학술대회논문집
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• 대한가정학회 2001년도 제54차 정기총회 및 추계학술대회
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• pp.66-66
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• 2001

• 대한가정학회지
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• 제42권2호
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• pp.151-160
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• 2004

This paper researched and compared the Jangsam religious costume, of Buddhism in Yeongsanjae with that of Shamanism in Gutgeori. Jangsam is a full length, flaxen hemp dress used in both religions. (Ed-please amend this sentence as necessary but note that it is essential to give some description of the costume here for non-Korean readers) The religious point of view can cause Jangsam's features to differ Jangsam's meanings are as follows. First, the purpose of wearing Jangsam in both the Buddhist priest's and Shamans' costumes is to gain power from the Almighty in order to maximize the religious effect. Second, Jangsam in the Shaman's costume features universality mixed with Buddhism and folk religion and becomes symbolic in Buddhism. As society disregards Shamanism, it has become combined with Buddhism. Third, Jangsam for Yeongsanjae or Chukwon Gut has kept its religious specialty as a Pyoeui despite various modifications.

• 대한가정학회지
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• 제41권9호
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• pp.43-54
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• 2003

The purpose of study is to survey the system of the Korean Gangsin-mu shaman costume and its formative character and to fine out the traditional follow patterns of government officials' attires and Po's meaning of it. The overall shape of variety 'Po's in modern times are similar to the traditional ones, but they differ greatly in size, detail color, and ornamental design. The sleeves have slits in the armholes, which can allow the hands to be drawn out easily. In addition, the knot buttons are used in the modern costumes. They are based on different formation skills from those of the traditional The original color of the shaman's costume is not their taste in color but symbolic, modern costumes color show the shaman's taste in color. This change mean a more accentuated visual effect than incantatory meaning. Another reason for color change is also the costume's material. A kind of constituent element uses synthetic fiber in modern times.

• 복식
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• 제50권3호
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• pp.5-12
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• 2000

Jaesuk-koli an important part of the 12 shamanistic rituals, is an accepted buddhist monk's costume. In this paper, the Jaesuk-kori costume and its meaning are studied. The ornaments of shaman's costume differe somewhat from region among individual shamans, but the symbolic meansing are fairly similar. The significance of Jaesuk-kori shaman's costume ar as followed ; First , a Buddhist monk's costume is accpted in the Jaesuk-kori ritual costume. Second, a shaman wears Jangsam (long-sleeved buddhist robe) and Kasa (surplice) in the Jaesuk-kori rituals. Third, the ornament of Sipjangsang objects search for earthly happiness while the rotus flower embroidered on the costume , depicts purity in the heaven world. Fourth, five colors in the Jaesuk-kori costume represented, Yin and Yang of universal harmony. Jesuk-kori ritual costumes signify that traditioal shamanism was accepted and absorbed into Buddhist rituals system.

• 한국의류학회지
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• 제27권11호
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• pp.1330-1337
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• 2003

According to the way of expression and the ritual procedure, there is a difference in the costume between Jinoggigut in Seoul and Sitggimgut, hereditary dance in the southern part of Joella province. Even though they share the same story, which is to soothe the spirit of the deceased and to listen to the grudge of the remained, the two shaman rituals are slightly different in their costumes. And the characteristics of the costume in Seoul Jinoggigut, and Jindo Sitggimgut are as follows; First, both in Seoul Jinoggigut, a spiritual dance and Jindo Sitggimgut, a hereditary dance, the universal roles of shaman costume, which are generally shown in "gut", are found-build a sacred environment, prepare for the experience of the spiritual world, listen to the grudge of the deceased and wish for God's bless. Second, the shaman costume has a special role to express specific and complex symbols-representing God on one hand, symbolizing the dead on the other. Third, unique symbols are found in the costume of Mangjachoendogut with the formality of the ritual procedure.

• 한국의류산업학회지
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• 제18권5호
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• pp.588-594
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• 2016

The outer clothing of shaman that are put on while performing current gutgeori is lacking in form and composition, diversified with kinds. Above all, name of shaman clothing is not unified, accordingly, there's a big difference from traditional Gutgeori, which was definitely divided in the role of outer clothing of shaman in respect of function and role of Gutgeori. Here, this research attended a site that performed Gutgeori based on the advanced literature research data research and analyzed the state and name of outer clothing by conducting a survey and interview investigation. Survey was conducted during 2 years from 2014 to 2015 classifying Gutgeori of Seoul, Gyeongsang, Honam, Jeju, Chungcheon. Research results are as follows. First, lots of outer clothes were put on along with shamanism type in Seoul, accordingly, names were diversified. Name of outer clothing was not unified by focusing on level of divinity or behavior of Gutgeori, with no consistency being mixed. Second, name was not consistent even the outer clothing of the same type shaman along with the region, sometimes put on in different meaning, accordingly, called in different name. Combination of such name of shaman is determined to be a big reason of lack of accurate information on shaman clothing and genealogy of name of shaman clothing in shamans, as the initial research on shamanism was conducted by folklorists in advance.

• 복식
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• 제31권
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• pp.5-16
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• 1997

This paper studies in terms of nonverbal communication the roles of Gut-clothinbgs used in Jin-Do Sit-gim Gut are classified as follows: 1) The message communicated through the ordinary clothings of a shaman is that he or she is waiting to serve as a presider of a Gut ceremony actiong as a mediator between the spirtual and the human world. 2) The shaman clothings representing many kinds of spirits are visualized figures which are closely related to the common wishes of most people in society e. g. physical and material well-being longevity fertility. 3) The clothings serve as a body figure in the Gut are classified into 5 groups. (1) Laid-on clothings give the message that the body is standing still. (2) Wrapped clothings serve as an incarnated body of the dead. (3) Spread clothings represent a lying body. (4) Oscillated clothings are the symbols of a spirit which moves from this world to another. (5) Burned clothings mean that the spirit has attained a complete seperation from this world.

• 한국잡초학회지
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• 제4권2호
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• pp.179-187
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• 1984

제초제(除草劑) 처리(處理)에 의한 못자리 잡초방제(雜草防除)와 묘생육(苗生育)에 미치는 영향(影響)을 검토(檢討)하기 위하여 경기도(京畿道) 농촌진흥원(農村振興院) 시험포장(試驗圃場)에서 못자리 제초제(除草劑)인 Chlormethoxynil, CNP 및 Butazol을 시용량(施用量)을 달리하여 복토(覆土) 무복토(無覆土) 처리(處理)한 결과(結果)를 요약(要約)하면 다음과 같다. 1. 파종시기(播種時期)에 따른 잡초발생량(雜草發生量)은 파종기(播種期)가 빠를수록 둑새풀, 피 등 화본과(禾本科) 1년생(年生) 잡초(雜草)가 우점(優占)되었으나 파종기(播種期)가 늦어질수록 방동산과(科) 잡초발생량(雜草發生量)이 많았다. 2. 잡초방제가(雜草防除價)는 복토구(覆土區)가 무복토구(無覆土區)에 비하여 높은 경향(傾向)이었으며 복토구(覆土區)에서 Chlormethoxynil, CNP 각각 3kg/10a 시용시 각각 76.71%, Butazol 1kg/10a 시용시는 97%이었다. 무복토구(無覆土區)에서는 이보다 다소 낮은 76, 61, 92%였다. 4. 무복토(無覆土)할 때 파종후(播種後) 40일(日)의 묘건물중(苗乾物重)은 Chlormethoxynil, CNP 각가 4kg/10a, Butazol 2kg/10a 처리에서 낮은 경향(傾向)이었다. 5. Butazol 1kg/10a 처리시(處理時) 묘(苗)의 생장속도(生長速度) 및 상대생장율(相對生長率)이 높은 경향(傾向)이다.

• 한국의류학회지
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• 제21권1호
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• pp.129-143
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• 1997

This study is about'The Costumes of Ch'oyong dance. (namely Ch'oyong-mu-bok; 처용무복)': emphasis on its structure and change. 1 studied Akhakguebum (the book of music and dance; 낙학궤범), Eui-Gue-Do (a collection of a series of paintings showing the whole processes of the royal courtesies and ceremonies; 의궤도) and some genre painting (풍증화). 'The costumes of Ch'oyong-Dance'were composed of robe(의), pants-skirt(대) , outer-skirt (상) , scarf-string(천의·길경) , shirt(한삼) , hat with mask (사교·가면) , belt(대) and shoes (혜) . According to the position, the colours of robe(의) and pants-skirt(군) were different. What is called, it is'the Colour of Five-Position (오방색) .'The Costumes of choyong-Dance' can be divided three factors by its symbolic means; i. e. shamanism, buddhism and bureaucratism. The pants-skirt(군), outer-skirts(상), scarf · string(천의·길경) and mask are considered as shamanic factor. However, the scarf(천의) , string(길경) and patterns(만화)which are decorated with many lotus patterns enclosed with vine are considered as buddhistic factor. And the hat (사모) , robe(의) , outer-skirt(상) , belt(대) and shoes(잔) are considered as bureaucratic factor. Ch'oyong is endowed with some power by these factors, and its symbolic means became stronger and enlarged by 'the Colour of five-position'. As time goes, the forms and details of robe had been changed noticeable; sleeve-width, neck-line and patterns. The shamanic, buddhistic and bureaucratic factors are reduced. These changes were derived from the changes of Ch'oyong·Dance. On the ground of the shape of mask and round-neckline robe(단영) , someone has an opinion that Ch'oyong is an aribian. However, according to this study, Ch'oyonh is Korean traditional thing; round-neckline robe already existed and settled in Silla dynasty and Ch'oyong-mask symbolized shamanic power.