• 복식
• /
• 제43권
• /
• pp.15-30
• /
• 1999

The Kosode(小袖) which is a traditional Japanese outfit with a narrower sleeve than the Kimono was worn under the court dress. Korean who first immigrated to Japan wore the Po(袍: the Korean clothes of the time) and introduced the outfit to the japanese people who adopted and integrated it into their daily wear. This outfit was labelled the Kosode(小袖) during the 13th century. The Kosode(小袖) eventually developed throughout centuries into today's Kimono. 기본포(基本袍). Kibonpo(Traditional Korean Basic Outfit), 袍형기본포. Mekibonpo(Traditional korean Outfit with Round Sleeves) 통수포 Tongsupo(Outfit with Narrow Sleeves) 고소데(小袖).Kosode(Traditional Japanese Outifit with narrow Sleeves) 후리소데(振袖). Furisode (Traditional Japanese Outfit with fluttering Sleeves)

• 복식문화학회:학술대회논문집
• /
• 복식문화학회 2000년도 International Costume Culture Conference (한글판)
• /
• pp.36-37
• /
• 2000

• 복식
• /
• 제15권
• /
• pp.77-86
• /
• 1990

• 헤리티지:역사와 과학
• /
• 제18권
• /
• pp.228-263
• /
• 1985

• 대한가정학회지
• /
• 제38권11호
• /
• pp.13-30
• /
• 2000

The purpose of this thesis is to find out the spiritual cloture inherent in outward elements of Korean traditional costume. For this purpose, the ‘Po(袍)’of the Chosun Period is decided as an object of this study. ‘Po’, which has been one of basic elements of traditional costume from ancient times, contributes to complete the attire and shows the courtesy most apparently. In addition, ‘Po’profoundly contains the spiritual culture of our own because it symbolizes the social status system and customs of the days. The spiritual culture incorporated in the traditional Po of Korea is examined by the study of the thought of Yin and Yang, and Five Elements, Taoism, Han(韓) and the aesthetic characteristics of Korea.

• 복식
• /
• 제50권6호
• /
• pp.155-162
• /
• 2000

Classifying the diverse and complex clothing category of nationality subcultures in China is not a simple task. However, summing up, it can be largely classified that clothing of the northern area is long trousers and short skirt. Among the clothing of Nationality in China, especially, Pao(robe: 袍) has its diversity and colorfulness. whose elements forming its each characteristic feature has enough value to be investigated fully in the historical point of view. The conclusions of this study reveals that Pao in nationality subculture in China can possibly be divided into the four types as Qipao(旗袍) in Dongpei area, Mongopao(蒙古袍) in Inner Mongolia, Qiapan in Xinjiang area, and Zangpao in Tibet area. The modes of Qipao and Mongopao are mainly similar in that they have diagonally on the right, stand collar in composition, but Qipao shows its diversity in collar and slashes, and Mongopao also shows diversity in its colare and waistband. Since western culture flowed into China along with its open door and reform policy, the splendid color and distinctive pattern, decoration, diversified method of compositions and clothing categories of Nationality cultures are disappearing in its their originality and nationality.

• 한국의상디자인학회:학술대회논문집
• /
• 한국의상디자인학회 2004년도 한국의상디자인학회:학술대회논문집*Proceedings of the Korea Fashion
• /
• pp.77-80
• /
• 2004

요선오자란 의(衣)와 상(裳)으로 구성되어 있고 허리에 여러 줄의 요선(腰線)이 장식되어 있는 독특한 형태의 포(袍를)를 지칭한다. 이러한 특징적인 형태를 지닌 요선오자는 원대(元代) 문헌부터 그 명칭이 등장하고 각종 회화자료에서도 몽골인들이 착용한 모습을 볼 수 있으며 복식유물도 이 시기부터 출토되어 중세 몽골인에 의해 착용되기 시작한 것으로 알려져 있다.(중략)

• 한국가정과학회지
• /
• 제5권1호
• /
• pp.14-27
• /
• 2002

The purpose of this study is to identify the ritual dress used by the 12 religious bodies of Dankun followers to help understand the teachings of these currently operating religious groups in Korea. The findings from the survey and related literatures are used to analyze the characteristics of these ritual dresses in terms of their items, construction, form, and color. The results of the study are as follows: first, most of the religious groups of Dankun followers have established the code for ritual dresses and they are named as 'chaebok'(제복, sacrificial robes), 'yebok'(예복, ceremonial dress), 'chungbok'(정복, formal attire), 'pubbok'(법복, Buddhist formal dress), or 'tobok'(도복, Taoist garments). The official headgear is usually named as 'chaemo'(제모), 'soogun'(수건), 'moja'(모자), or 'yoogun'(유건, 儒巾). Though, there are some groups which do not use any specific names for headgear. Second, the ritual dresses of most groups are composed of the 'hanbok'(한복,韓服) or usual Western-style dress, a traditional outer wear, 'po'(포,袍), and a headgear, as a basic attire. Third, the traditional 'hanbok' is worn as a base garment and an outer wear is worn above. The different types of outer wear are used: mostly 'chaksu jueui jikyoun po'(착수주의직령포, 窄袖周衣直領袍) for men and 'kwangsu jikyoung po'(광수직령포, 廣袖直領袍) and other various styles for women. The headgear from the ancient times are worn by both men and women. Fourth, the most frequently-used color for ritual dress is white for both men and women's dress. The colors from the Yin and Yang ideology are also used in the ritual dresses. Finally, the kinds of materials are not considered as an important element for the ritual dresses.

• 한국의상디자인학회지
• /
• 제6권1호
• /
• pp.55-63
• /
• 2004

The dress culture of Korea and Turkey should be necessary to study in view of a similar culture of Korea and Turkey due to similarity of oriental culture. Thus, as two nation's dress is investigated, cultural characteristics and dress form of two nations are analyzed with cultural background in detail. Also, comprehension is determinated for the dress color and texture as well as dress culture. In this paper, It is investigated theoretically for the function, type, and class of dress. Also, The form of Korean Po are compared to background of Turkish dress and Sulltans' dress form. To unify a cultural propagation and dress form, technical, inductive contents analytical method as well as literature review are used in positivism. Subject is limited to the Korean Po and Sultans' dress of Turkey. As a results, as the nation's dress reflect to culture and society of the nation, Korean dress have some similarity and differences comparing Turkish dress as followings. In dress form of two nation, rectangular Gil's shape was very similar. Mu's shape was similar too. However, Sultans' dress had outside shape of caftan type and Po had full or partial wrinkles by transforming Mu. Also, Sultans' dress did not have Sup. Korean Po have side slits or back side slits and Jun-Sam but Sultans' dress had only some side slits.

• 복식
• /
• 제6권
• /
• pp.105-119
• /
• 1982

This thesis is mainly about the changes of Garment's collar(옷깃) and outer collar (옷섶) which indicate the identification of dress history. Through the observations of some reports about important folk materials and genuine objects, the author has investigated and rearranged them focusing on Yi-Dynasty. (1400-1900) For the shape of the outer lapels(겉깃) of Korean Jacket(저고리) were used together Squar-Tray-Collar(목판깃), Sharped-Collar(칼깃), and Dang ko-Collar(당코깃) and coming to the end of inner lapels(안깃) formed squar-tray-collar. Squar-tray-collar and sharped-collar were mainly used together for the shape of the outer lapels of Korean overcoat(포). Dang ko-collar was seen only in two overcoat. Coming to the 18th centry, the outer lapels became round-edged like those of jackets, while the inner lapels formed squar-tray-collar. In the process of positional changes of the collar and outer collar of Korean jacket and overcoat, the outer lapels positioned outside the outer collar, or a part of width of collar's positioned upon the outer collar, or the whole outer lapels positioned inside the outer collar. And through these changes the current position of the outer lapels became settled in the end of the 19th centry. But the inner lapels did not undergo many changes compared with the outer ones, and their position was mainly outside the outer collar like those of current lapels. And the garment's collar and outer collar of jacket and overcoat became small while the width and length of breast-tie(고름) became large.