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

• Korean Journal of Heritage: History & Science
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• v.50 no.3
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• pp.64-87
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• 2017

Dahoe is a traditional braid in Joseon Dynasty. There are many Dahoe artifacts, which can give us a glimpse of the costume, culture, and life of that era. The study of Dahoe is necessary in various fields, but it is difficult because this manufacturing technique has been passed down from hand to hand. Few studies have been done so far. This research examines the manufacturing technique of KwangDahoe which is passed down by Maedeupjang (Decorative Knotting) and is generally used for knotting and/or tying objects. The main characteristic of TieKwangDahoe, made through the same method as WonDahoe, is the square hole in the middle. It was impossibile to remake the original braid because there is no confirmed number of the strand. Especially it is very difficult to do conservation and restoration on serious degradation state of the fiber. Therefore, it is necessary to analyze the non-destructive manufacturing techniques method for Dahoe and assess their applicability. First, we analyzed the artifacts' manufacturing technique based on the database of the Dahoe's manufacturing technique. In order to do that, we undertook schematization, restoration, morphological analyzation of the Dahoe. And then, X-ray CT scans were performed to improve the reliability of the DB. These results of scanning were interpreted based on the manufacturing technique. The selected Tie-KwangDahoe on the sword for the study are artifacts including artistic value and symbolism in Joseon Dynasty. Based on the analysis of the manufacturing technique, we found that both artifacts were made of 20-strand braid of single cross according to the length-scale measure. It was manufactured using 8-strand on left-right side, 12-strand on front-back side by the braiding manufacturing technique method Finally, this research suggests non-destructive analysis method of Dahoe's manufacturing technique is based on the database and the analysis results. I hope this research can be useful in various professional fields of Dahoe in the future. Moreover, I hope this can be of any help in preserving Korean cultural heritage.

• Archives of design research
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• v.12 no.4
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• pp.317-326
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• 1999

The Korean traditional color passed down over countless generations has surpassed both surpassed both time and space and continue today to breathe life into its people's everyday. In order to clarify the characteristics of Korean traditional color blue and red, we investigate the names of them and measured the color tones of textile remains in Chosun era. The characteristics of Korean traditional color blue and red have been surveyed by means of the examination of color names in many famous literatures in Chosun era. Korean terms for color tones were characterized by enormous variety of epithes crowned on them. The color names mentioned contain many unaccountable epithes which were characterized also deep colors and light colors were dominant in it. As a means of enhancing possibilities within limited colors, the commoners increased the names for varying tones of blue color group(32kinds) and red color group(40kinds). These "blue(indigo dyeing)' and 'red(safflower dyeing)' in Chosun era were shown very high frequency in use and the costume colors in Royal Court. With combination of these various blue and red colors they represented a thought of color based on Yinyang Theory and created a polished aesthetic taste. The color samples of textile remains in museum were measured and designated by Munsell color system and the ISCC-NBS color designation system. THe appeared rates were derived on Chosun era and features of colors using on the period were discussed. We aim to present specific recipes in indigo dyeing and safflower dyeing for using our apparel product and folk art.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.59-72
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• 2000

Dragon robe was defined as a robe on which the principal design consisted of dragon. Dragon patterns have been used on princess robes during T'and Dynasty. In Sung, Dragon-figured robes seem to have an Imperial prerogative. Yuan took over the use of robes with dragons patterns as a definite institition. Ming tried to reject all Yuan innovations, the dragon robe was retained as an unofficial court costume. The Emperor's semiformal robes which at first had four dragon medallions, later had twelve along with the 12 Symbols(십이장문). As Ch'ing dragon robes were only intended fro semiformal use. The Later Ch'ing robes date from after 1719, when the Ch'ien-lung(건륭) introduced 12 Symbols on Ch'ing robes. The Ch'ien-lung laws were disobeyed, notably the ones that specified the number of claws on the dragons. THe Emperor's dragon robe, lung-p'ao, (용포) was described as bright yellow in color, having four slits and horsefoof cuffs. The basic pattern consisted of nin dragons, in addition it had 12 Symbols. The elaborate textile techniques reached their peak in Ch'ing Dynasty-with its Weaving and Dyeing Office in Peking, and this factories at Hangchow(항주), Soochow(소주), and Naking(남경) -helps to explain why the decay of the Ch'ing bureaucracy hastended the decline of dragon robes. In the Ch'ing Dynasty tow terms were used for dragon robe, depending on the number of claws on the dragons. Those with five-clawed dragons were called lung-p'ao, while those with four-clawed dragons were called mang-p'ao(망포). The Court felt compelled to take corrective meausres. It decreeed that Ninisters of State and other officials, who had been bestowed five-clawed lung dragons, must take out one claw. Finally, the sale of ranks and the attendant privilege of wearing dragon robes gradually increased during the 18 th century, reaching its height in the 19 th century, Finally, after the Taiping Rebellion, when the Imperial Treasury was depleted by the wholesale destruction of revenue-producing lands, the Chinese government came to depend on such sales as an important source of revenue and the practice became even more widespread. The ensuing mass production of dragon robes, and the necessity of conforming to the fairly rigid basic pattern established in 1759, resulted in marked deterioration of workmanship, and a comparative monotony of decoration. The patterns on the dragon robes slight changes continued to be made in the ways of representign them. The li shui (입수) portion at the base of the robe become inreasingly wider throughout the 19th century. The background became cluttered with symbols of good fortune, scattered among the clouds and waves. As a result of all this extraneous decoration, the dragons were so crowded that they had to shrink back into the small size that they had originally occupied in the medallons. Kuang-hsu(광저) was a long one, allowing time for the manufacture of numerous robes. Also, it would seem likely that Occidental museums and collections would have a considerable number of his robes, in view of the widespread looting of his palaces during the Allied occupation of Peking in 1900, and the frequent sales of Late Ch'ing imperial textiles by destitute Manchu courtiers in the '20's.

• Journal of Digital Convergence
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• v.11 no.1
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• pp.413-421
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• 2013

We, currently settled on the peninsula, have a long history and our ancestors lived over the vast land further to the central Asia and northern China. Normally, our ancestors traded with many countries, but they fought battles when they were on bad terms and many countries emerged and disappeared. In this history, a variety of cultures have been established and the traditional martial arts is a part of those cultures. Our martial arts has been almost severed because of the development of fire weapons in the late Chosun Dynasty, Japan's colonial rule, and 1950-53 Korean War. Fortunately, we can study the traditional martial arts from history books, the records on the martial art books and relics. Muyeadobotongji, the martial art book published in the late Chosun Dynasty, regrets the negligence of martial arts Giyae(arts) after Japanese Invasion of Korea in 1592 and the Manchu war of 1636 and accommodated the martial art skills from Chosun, China and Japan. It is useful for studying martial arts, because it contains detailed description and drawings, clothes and accessories, and the specification of the weapons. However, the problem is the level of Giyae of the martial arts organization and individuals based on Muyeadobotongji vary and some organizations are arguing about the numbers.

• Science of Emotion and Sensibility
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• v.22 no.2
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• pp.83-100
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• 2019

The purposes of this study are to identify the meaning of the geometrical patterns preferred by ancient Korean peoples and to classify them into some groups by their similarity. We investigated various patterns found on clothing and relics from GoJoseon to Goguryeo period, and utilized secondary sources such as history articles, Internet materials and photo and analyzed the associations of the varied patterns found in pottery, handicrafts, and clothing with the ancient cultures. We found the letters (ㅇ, ㅁ, and ㅅ of Korean alphabet, Hangul) preferred by ancestors who worshipped nature to identify the significations attached by them to particular patterns. The results confirm the following: first, the circle pattern indicated the sun, moon, stars in the sky, a bronze mirror, and a man's face. Circles and ovals were also observed to represent the individual souls of the clan or community. Second, square patterns symbolized the land and the patterns that signified the wellbeing of family and the country. Oblique rectangles were more frequently used as they represented a double use of the triangle, a shape that implied mystic power. Third, triangle symbolized regeneration, power, and humanity. While the Neolithic Age jade remnants of hair combs appear not to be irrelevant to the process of comb-shaped pottery production of the time, many fine comb-like lines may be found on bronze mirrors. Through its review of the glorious designs inherited from and established by ancient ancestors, the present research endeavor may help in identifying the spirits and traditions of Korean history.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.353-379
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• 2020

The 2032 South-North Joint Olympics is an agreement between the two Koreas. Through this, various efforts are needed to improve new inter-Korean relations and co-prosperity on the Korean Peninsula. The purpose of this study is to proceed with the 203 South-North Joint Olympics. This study was developed by literature reserch methods. The result of this study are as follows. First, Seoul-Pyongyang soccer exchange game will be promoted. Second, the International Peace Cup a relay race(Marathon) will be held. Third, Korea Peace Cup International Table Tennis Championships will be held. Fourth, I propose holding the Korea Sports Science Forum. Fifth, about 16-17 events are propose for North Korea to host the 2032 South-North Joint Olympics. Sixth, the decision to host the 2032 Summer Olympics is expected in 2022 or 2023. Seventh, it is necessary to promote the Inter-Korean Social Association cultural Exchange and Cooperation Committee or the Special Committee for the Promotion of the Inter-Korea Sports Exchange and Cooperation. Eighth, it is necessary to implement a five-year plan to promote Inter-Korea sports Exchange Cooperation or a five-year plan for Inter-Korea sports Exchange and Cooperation. Ninth, the North Korea player registration system will be promote to the South Korean K-1 League. Ten, suggest sports exchange and cooperation ahead of time. Eleventh, train experts on North Korean sports or exchange and cooperation. Finally, the South-North Korea sports exchange Agreement will be promoted. It also promotes the Inter-Korea sports Exchange and Cooperation Support Act.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.31-48
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• 2007

The purpose of the this study is to make a historical review of changes in the structural decorations of men's costume from ancient times to modern times and to provide basic materials for developing handicraft decoration techniques and sewing methods in contemporary fashion. Their gorgeousness of collars and sleeves reached its peak along with the exaggerated expression of the human body during the Renaissance when people were free from Christian traditions of the Middle Ages and pursued human pleasures. Huge and decorative collars gave great dignity and formality to the wearer. Sleeves were slim and cuffs were small or nonexistent after the French Revolution. Various decorated pockets had been developed since pockets began to be attached to coats in the 17th century. Pockets were at the bottom of coat in the late 17th century, but they were gradually placed much higher on the coat. Buttons began to be used as the tool for sticking fast body to clothes in the 12th century and became extremely sumptuous accessories in the $16th{\sim}18th$ centuries. Men's clothes were simpler and more practical after the French Revolution. The result was that decorative buttons begun to disappear and metal buttons came out for practical purpose. The number of buttons worn on sleeves was also noticeably reduced. This research suggested the possibility that various decoration techniques could create the unique details in the each part of clothes. In order to develop high value-added products, we need to study various decoration-sewing methods and put to practical use them for creative fashion design.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.53-62
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• 2009

Through the result of the investigation on costumes in Bulgarian regions, the main factors for the formation of Bulgarian folk costume and its kinds and history have been found out so far as follows. Alhtough varying according to the district and climate, Bulgarian folk costumes have some general features determined by the material, the pattern, the application. For women, Bulgarian costume consists of a white shirt, a single or double apron unique depending on each region(Bruchnick), a basic dress called a tunic (Soukman), and an open-tunic typed coat (saya). The main factors for the formation of Bulgarian folk costume have been under the influence of natural and environmental features and historical streams resulting from its geographical location. Bulgaria is agriculture-oriented society based on a continental climate. Accordingly, as for the classification of costumes, body-fit clothes, such as shirts and jackets which developed in Europe and fit the body shape, have featured in Bulgaria. Besides, Bulgaria was under the rule of Turk for a long time at the end of the Middle Age. Having been influenced a lot those days, its folk costume shows Turkish elements now. With geographical features, it was found that the southern area was influenced most by Turkey and Greece, and the types of folk costumes in Europe developed mainly from the northern area. The adaptation of traditional costume forms to the new cultural and progressive principles of appeal nowadays needs knowledge, as well as feeling. Finding the right measure and proportions of using old ethnic elemints in contemporary clothing is the prerequisite of successful design.

• Journal of Conservation Science
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• v.29 no.1
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• pp.15-24
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• 2013

Chil-sa head-wear excavated in Buksandong of Ulsan is precious relic with historical, cultural, social and artistic values because it shows head-wear shape at the period of Goryeo dynasty with the invaluable worth in the field of Korean traditional costumes. Also, this excavated head-wear provides the empirical information about Goryeo dynasty which has relatively insufficient remains. The purposes of this study are to recover and maintain the original states of the artifacts from various environmental factors and then to preserve the materials from rapid decomposition. As a result, the original shape of the head-wear from Goryeo dynasty can be conserved and through the material and structure analysis it is found out that the head-wear's surface structure is composed of silk(紗) and the ground structure is made by bamboo(竹絲).