• Journal of the Korean Society of Costume
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• v.43
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• pp.97-108
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• 1999

This paper is a study on the expression of Clothing and Textiles recorded in $\boxDr$Eigamonokatary$\boxUl$ focus on Color and Dying. $\boxDr$Eigamonokatary$\boxUl$is a novel described the life style of Royal Court from 883 till 1107. The discoveries of this paper were as follows. 1. The materials of colors and dyeing which are described in this book reflect the features of the age well. We can assume that the point of its chic might rest on colors and dyeing than design or pattern. 2. Sine they enjoyed wearing lots of clothes which are in the same design but in different colors with the underwear. When color coordinate was fashioned we call them "Kasanenoirome". This type of dressing was in vogue in the age of Heian when there were several devices of showing chic in dressing. 3. The color of clothes at that time might represent one's official position the black the highest class following the purple the red and the blue or green. The black color was made from the purple or blue. The Japanese Emperor would wear reddish yellow or blue clothes according to the nature of his office work. 4. Some of Japanese fashion might be influenced by Korean styles in the respects of coordinating colors and adjusting Buddhist fashion etc. It is required that the turther studies of comparing Korean fashion styles with Japanese ones should be deepened. deepened.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.159-169
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• 2000

The purpose of this study Is to research the clothing and textiles recorded in Heikemonokatary which was written from 1131 to 1198. The research materials are 36 kinds of men's clothes and ornaments, 6 kinds of women's things, 10 kinds of colorings and 6 kinds of textiles. The results of this study are as follow : 1. There were many advanced warriors' clothes. Especially the helmets and armors were very gorgeous. The shapes of warriors' knives, arrows, shields were concretely described. The women's clothes were mostly unchanged from Nara period and Heian period. Women wore clothes on their heads when they went out. 2. One particular thing in color is that the brown color of that period was navy blue which is symbolic of victory. There were some textiles which was woven with the boiled silk thread in the latitude and the raw silk thread in the longitude. Besides, the blackening of teeth, the bobbed haler of boys, and the celebration of one's corning of age were described in the book.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.45-61
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• 2003

Parhae and ancient Japan officially exchanged at 34 times during the period from AD.727 to AD.920. The envoys of each nation also sent the other nation with some items. The names of the items are identified by the historical records; those which Parhae presented to ancient Japan were leader shoes, which is called AmMoHwa(암모화), belt(대) various leaders and those which ancient Japan presented to Parhae were formal uniforms[관복], various textiles, coronet, shoes. We can recognize that the leader items of Parhae are frequently recorded as the gift to ancient Japan because they were the main manufactures in Parhae at that time. In addition, the government of ancient Japan gave the Parhae's envoys a high rank, five-grade(5위) and noble costumes like JinKaeEui(진개의) and so on were well-matched with their high rank. While being official exchanges, it is supposed that there were lots of other unofficial exchanges. Historically, in Japan, the time came under Nara(나양) era(AD.719~AD.794) and the beginning of PyungAn(평안) era(AD.794~AD.1192) and in the same way in Parhae, King Mun(737-793) reign. One of the features at that time is that Tang's culture was introduced to ancient Japan positively. Since Nara era strongly accepted Tang's culture, I assume that Nara costumes were affected by Tang's therefore they are the same as Tang's. In the same way, Parhae's costumes are the same as Tang's, too. The point is, it is expected that the costumes of Parhae which were exchanged with ancient Japan are similar to those of Nara by the medium of Tang's costumes.

• Journal of the Korean Society of Costume
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• v.31
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• pp.17-31
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• 1997

The Heian Period(794-1192) was the period when luxury and elegance flourished. Gorgeous colors were adopted for the costumes and an el-egant assortment of colors prevailed. Representatiove of such costumes is kasane-no-irome. The world Kasane-no-irome originally came from two colors on both sides of one of the japanese kimonos called Uchiki. In later times it turned to indicate the combination ef-fect of colors of several Uchiki's worn in layers one over the other. This paper describes in de-tail the kasane-no-irome in both meanings. In so doing I distinguish two different kinds of kasane-no-irome using a Chinese character for the formed and for the latter though both are pronounced Kasane in the Japanese language. Part one of this paper which concerns the color combinations of presents typical 148 samples through reproduced dyeing clothes by Matumoto. Part two describes the color com-bination of which was so called Junihitoe. It presents typical 41 samples from reproduced dyeing clothes by Matumoto. The purpose of this study was to investigate the characteristics of color distribution and the structure of color combination in Kasane-no-irome. Therefore we obtained the following results in Kasane-no-irome. 1. The color combination of Kasane-no-irome came from the natural color harmony there-fore the names of kasane-no-irome which adopt the names of flowers and leaves of the foure seasons. Accordingly the seasons for wearing them are fixed. 2. In the hue the most frequent appearance was green. And in the tone the most frequent apperance was moderate. 3. In the color combination the most fre-quent type were monochromatic combination and contrast combination.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.