• Journal of the Korean Society of Costume
• /
• v.55 no.5 s.95
• /
• pp.78-86
• /
• 2005

Marek(말액) is the headgear, which is a form of hempen hoods[Geon(건)] and the origin of it is Pa(파) of band form. A history book of an old Chinese country Post-Han $\ll$ History of HouHan (후한서)$\gg$ had recorded that a soldier wore a red band around his head that was called Pa(파). In the Han dynasty(한대), Pa had been transformed into Chaek(책) or a kind of a hemp rap(건) while e headgear had still remained as the band form and called Marek from e Tang era(당). The literatures of the Tang era had referred the red Marek of soldiers, and other literatures of the later period had recorded that of the previous headgears of the band form were related with Marek. Since the Tang era, white or yellow Marek except red one fer soldiers had been were by soldiers, musicians, dancers and singers in Yuan(원) and Ming(명) of China. The colors was recorded in red on documents mostly, this red implicated soldiers for symbol of terror. This fart was documented in an old history book $\ll$The history of 25 Eras(이십오사)$\gg$, On the other side, a wall painting in Princess Jeonghyo(정효공주)'s tomb of the Parhae(발해) period described the portraits of twelve persons, and among them, two Siwui(시위) put on the red Marek. Quoted from the record of a history book of the Tang era system , a history book of Three Kingdoms(삼국시대) of ancient Korea $\ll$Samguksaki(삼국사기)$\gg$ described that four dancers of Kogryo(고구려) wore Marek on their heads with the costumes of Koguryo, one of those Kingdoms. In consideration that the book of $\ll$Tongjun$\gg$ was the literature of the Tang era so that Marek mentioned in this book was followed by their name, the Marek of Koguryo dancers shown in the history book $\ll$Samguksaki(삼국사기)$\gg$ might be a kind of Koguryo style hemp cap[Geon(건)]. The Marek of Parhae had succeeded to the headgear of Koguryo and the identity was on Koguryo.

• Journal of the Korean Society of Costume
• /
• v.58 no.5
• /
• pp.13-34
• /
• 2008

In Headgear and Ornaments for Diadem in the Period of the Three States there was Conical Cap(or Pointed Cap), Feathered Cap(Trim), and Crown[Tree-typed Diadem and Tree and Antler-typed Diadem] was excavated from the tombs. Feathered Trim is 5 types, Feathered Trim I-A, Feathered Trim I-B, Feathered Trim II-A, Feathered Trim II-B, Feathered Trim II-C in according to upper part of central insert plate style. Feathered Trim I-A, I-B, II-B type was general style that was found in most of the old tombs in ancient Silla, Gaya. Feathered Trim II-A type was excavated from the only Silla tombs and II-C type was excavated from Gaya tombs. The Ornaments for Diadem in Baekje was excavated from the tombs is adorned with a arranged leaf-stems on either sides and the flower-shaped. They were distinguished with the original mode of Goguryeo and ancient Silla at the time. Tree-typed Diadem is five part in according to the Mountain(;山)-typed piled up. Only one Mountain(;山)-typed one in three stand-up ornament(I-1 type), and three step one in three stand-up one(I-2 type), modification one (I-3 type), three step one of four and five stand-up ones(I-4 type), and four step one of four and five stand-up ones (I-5 type). Tree and Antler-typed Diadem is three part in according to the step of Mountain(; 山)-typed and cross-shaped of the upper part. Three one of three step one of Mountain(;山)-typed and two Antler- typed (II-1 type), cross-shaped one(II-2 type), four step one(II-3 type).

• Journal of Fashion Business
• /
• v.5 no.4
• /
• pp.127-143
• /
• 2001

This thesis looks into the characteristics and compares the clothing styles between the Three Kingdom to the Unified Shilla era. The purpose of this study is to see what common themes exists between the foundation of Korean clothing and how it has evolved and through see to what extent the Chinese influence has been to Korean clothing culture. Also by explaining the originality and creativity of Korean clothing, we will be able to make clear the status of Korean culture. These findings include the following; 1. The Korean strait line Gik-ryong Kyo-im can also be found at the Gochang region in the west. 2. The Ban-ryong-ui, worn by the aristocrats of the Three kingdom and Unified Shilla era, began to appear from the nobles from the Nam-Buk cho(South-north era). This combined with a Bokdu(headwear) became a part of casual dress wear. 3. Go(pants) became a traditional part of clothing for Unified Shilla and the west. 4. Ban-bi and Bae-dang, all forms of Bansu-ui ( short sleeve), came from Chinas Kucha and Hotan and came to Korea. 5. Chinas Pae-baek and Pae-za (Shawl) which is the same as Unified Shillas Peo was also to be found to have come from the west. 6. The way a different color line was added to clothing both can be found in Korean and western clothing. Similarities to material used are; First, expensive wool was used and mostly originated from the west. From far away Rome came the O-saek-gae (Five-color wool). Secondly, Kong-gak me (peacock feather) and Bi-chi mo were all originated from the west. Third, Sil-sil is stated in the Sam-kuk Sa-ki (Three Kingdom records) as being prohibited to be worn by Jin-gol women (Highest nobility during Shilla era) as headwear or comb (pin) or as a comb(pin) for yuk-doo poom ( 6th class nobility) women. Suggesting that it existed and other sources tell us that it came from Tashkent region of Russia and was a jewelry of some sort. From what we have seen above, we can see the similarities between Korean and western clothing cultures and that these interactions not only occurred with China but with many other nations. We can see that our ancestors were creative and original that when importing foreign cultures that they transformed them into a Korean style. That these foreign cultures were transformed into our own style is good evidence to these facts.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.9 no.1
• /
• pp.13-22
• /
• 2007

As the world has been forming the global village and the cultures of each country are exchanged, the unique cultural specialty of each country high been merged with the generality in the world. The increasing interest on the oriental world and the globalization recently brings the fusion form of oriental and occidental cultures. In such a global trend, it is our challenge to find out the traditional beauty and the design factors of Korea for the new challenge and development of Korean fashion and to develop the most Korean and global design by interpreting them in a modem sense. It is the Era of the Three States when an of official hat among the personal ornaments of Korea was firstly described on the literature, including the literature of ancient China and Chronicles of Three States and Heritage of Three States of Korea. Those literatures clarified that the people in Goguryeo Baekje, Silla and Gaya decorated themselves with gold, silver and jade. Furthermore, since various kinds of ornaments have been excavated, they shown the development of metal craft in the Era of Three States. This study aim to exploit the design motives among the gold crown elements among the ornaments during the Era of Three States, interpret them in a modem expression, develop the textile design using the Adobe photoshop and suggest the application approaches by applying them to the clothing design.

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

• Korean Journal of Heritage: History & Science
• /
• v.46 no.3
• /
• pp.94-113
• /
• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.