• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 춘계학술대회
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• pp.49-49
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• 2003

단령은 둥근 깃이라는 뜻으로 군신(君臣)이 착용한 관복명의 의미를 가지고 있다. 단령은 검박(儉朴)하고 활동적인 옷의 형태로 AD 1세기 경 서아시아 일대의 기마 유목민족에게 발생되었고 중국에서는 호복(胡服)이라고 불렀으며 4 세기 초부터 17세기까지 군신(君臣)의 관복으로부터 일반인의 생활복에 이르기까지 여러 계층에서 착용되었다. 우리나라에서는 신라 28대 진덕여왕 2년(AD 648년)에 김춘추가 당(唐)나라 태종에게 단령을 하사 받음으로 착용하기 시작하였고 고려시대 조선시대에는 주로 관복(官服)으로 계속 착용하였고 현재에는 혼례 예복으로 착용하고 있다. 이와 같이 오랜 기간 동안 착용되어 온 단령은 봉재와 구성면에서 깃의 너비나 형태 앞 뒤 길이 차이 소매의 너비무의 변화 등 구성과 여러가지 면에서 변화를 거쳐 왔다. 단령의 구조는 깃이 둥근 형태에 옆 목점에서 매듭단추나 끈으로 여미며 길이가 길다. 따라서 15-16세기의 전단후장형 단령과 현재 혼례시 신랑 예복으로 착용되는 후기의 단령을 비교하여 구성의 차이점을 알아보도록 한다.

• 복식문화연구
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• 제28권1호
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• pp.62-75
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• 2020

In this study, clothing items recorded in Nappyemulmok (納幣物目) and Ugwimulmok (于歸物目) in the early 20th century were examined. These clothing items were recorded on the lists of goods for wedding gifts from the 1910s to the 1930s. A large quantity of these lists were organized into eight categories by analyzing the fabrics of each item of clothing. Representative fabrics used for skirts and Jeogori (such as Myeongju, 明紬) were used widely. Jeoksam was mostly made with ramie fabric. Pants mostly used cotton such as Dangmok, Mumyung, and calico, with some use of silk. Gojaengi mostly used cotton such as Dangmok, Mumyung, and calico, with some use of ramie. Danui (單衣) used silk fabrics such Pparinseu, Myeongju, and Gyoju for decorative features that were revealed when rolled up. Naeui (內衣) is believed to be the closest underclothes to the body, and Mumyung was mostly used. Dangmok and calico were used for the Yodae (腰帶) and fabrics such as silk, Nobangju, and JuhangNa were used for outdoor use. This type of categorization is significant, as it can be used as academic evidence to verify and reproduce the clothing of the time by identifying fabrics, colors, and characteristics of certain items of clothing. Lastly, it is expected that the analysis of clothing will provide theoretical data in the same way that movies, dramas, and museum exhibitions feature modern traditional weddings.

• 복식
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• 제64권7호
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• pp.11-28
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• 2014

Chinyoung(親迎) is one of the detailed procedures of a wedding ceremony, of which the bridegroom visits the bride's home to receive and bring her to his home. And, Procession Illustration (班次圖) is a type of drawing that shows how people of various social classes are arranged in their predetermined positions in a royal ceremony. Thus, 'Chinyoung Procession Illustration(親迎班次圖)' refers to the drawing of the march in the course of Joseon's royal wedding ceremony, in which the bridegroom receives and brings the bride to his home. This paper aims to reconstruct the Chinyoung Procession Illustration for a princess as an image, which has never been done. There are no drawings or pictures of the princesses' Chinyoung Procession, but only written records. Thus, we completed the Procession Illustration by dressing the participants in accordance with their social classes and arranging them in the march. The arrangements were based on historical records of social classes, positions, number, and costumes. As for the princesses' weddings in the late Joseon period, a total of 18 wedding records remain. We selected Princess Bok-On's (福溫公主: 1818~1832) wedding as the subject of reconstruction as it had the greatest number of participants. In addition, due to the great number of participants, this study limits its focus to the female participants, with the male participants to be examined in future research. The result confirmed that the number of participants in Princess Bok-On's Chinyoung Procession was 184, including the bride and bridegroom, and the number of female participants was 26 in total, including the princess and women placed around her. The women participants wore Rip(笠), Neoul(羅兀), Jeonmo(氈帽), Garima(加里磨), Noeui(露衣), Hwaleui(豁衣), Dangeui(唐衣), Jeogori(赤古里), Chima(赤亇), Malgun(袜裙), Daedae(大帶), Onhye(溫鞋), Dokhye(禿鞋).

• 복식문화연구
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• 제8권6호
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• pp.871-886
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• 2000

The purpose of this study is to understand the culture on the Traditional Wedding of the West Gyeong Nam District. The traditional wedding was characterized that the bridegroom visited his bride's house accompanied by his honored guests(上客) and the marriage ceremony was to be held in day time, and then the bridegroom became a son-in-law and stayed with the family for a few days. The bridegroom returned to his home, leaving his bride behind. After a certain period, the bride came to her husband's home as a daughter-in-law. The Traditional Wedding costume of the bridegroom were Samo-Gwandae. The coat (outside uniform) was blue Danryeong ornamented with two cranes figured Hyong-Bae and Heukgackdae. In case Samo-Gwandae was not available, Dopo or Durumakie could be substituted and they put on shoes in this case. A bridegroom put on Mokhwa his feet and under the Samo, and he also put on Nambawie or Bokguen. He put on Dopo or Haeng-eui(行衣) or Durumaki under the blue Danryeong. The bride put on Wonsam and Chokduri or Hwagwan on her hair. In case Wonsam was not available, Chima Jogori style or imitational Wonsam, which was roughly sewed with red cloth and blue cloth contained in the Honsuham (Box of wedding treasure), could be substituted. She put on Hyang-guen to protect her body against the coldness and to hide her face.

• 복식
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• 제53권7호
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• pp.69-81
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• 2003

This study firstly identify the characteristics of the clothes for traditional wedding ceremony from the late Chosun Dynasty (19th Century) and today through comparison. It also tries to discover what today's people are incorrectly aware of regarding the traditional wedding clothes particularly by survey. It ultimately aims to present constructive ways of solution against the illadvised and simplified deformation of the traditional wedding clothes. When comparing the traditional wedding clothes from the late Chosun and its modern counterparts, Dan-ryung and Samo-kwandae is still used for bridegroom's dress. In case of bride's dress, several items such as Yeom-eui, So-eui and Hwal-ot have been disappeared while Won-sam can be seen today. There were found many additional differences not only in type of the wedding clothes, but also in its form and constitution. Therefore, it is advisory to take the wedding clothes worn by commoners and upper class as the basic form for today's traditional wedding clothes. In addition, diversified research should be carried on to make them broadly accepted by today's life.

• 복식
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• 제66권3호
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• pp.162-179
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• 2016

This study examined the 17th century wedding ceremonies of princes and princesses recorded in the "Garyedeungrok(嘉禮謄錄)". The Joseon dynasty royal weddings were held outside the palace, so it could have influenced wedding ceremonies of commoners. Royal weddings for princes and princesses were considered to be on a level between that of a king and commoners. Wedding procedure of princes and princesses was carried out under the leadership of the royal family who officiated at a marriage with the king's approval. In addition, kindred of the king and high-ranking officials participated as the maid of honor in the wedding parade. This was completely different between the royal wedding and the scholar-gentry ones. A difference between the prince and the princess was that the princess paid her respect to the shrine of the house of her groom after the wedding ceremony. However, there was no process for the prince's bride. There also existed a wide disparity in the wedding goods of princes and princesses. The prince and the king's son-in-law both held a wedding ceremony to wear Chopo, but there was a difference in decoration or quantity of Danlyeong(團領) Cheollik(帖裏) Hoseul(護膝) belts. Only princes were allowed to use the ornamental knife and the embroidered pouch. While both the princess and prince's wife wore No-ui(露衣) and Jangsam(長衫) as the wedding clothes, there was discrimination of position in terms of hair decoration, Hwalhansam(闊汗衫), skirt, Hosu(胡袖) and Ni-ui(裏衣). There was also a difference of quantity of Jeogori and skirts, as well as various styles of gold decorations in order to distinguish the Gongju(daughter of the king) and the Gunju (daughter of the crown prince)'s position.

• 복식문화연구
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• 제9권1호
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• pp.19-32
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• 2001

The purpose of this study is to determine aesthetical characteristics of the Korean traditional wedding dress for women by analyzing such dresses'aesthetical senses. For the purpose, the study showed four types of the dress, jukyee, whalot, weonsam and private weonsam and their photographed stimuli to subjects and then obtained data using the seven scale measures of meaning differentiation consisting of 25 pairs of adjective words. Results of the study are described as follows; Aesthetical senses shown in the Korean traditional dressing dress for women included six factors in total, among which attractiveness was found as the main factor, followed by chastity. For the four types of the dress, whalot adpated revelation as its main factor while the remaining three types, or jukyee, weonsam and private weonsam were found having dignity as their main factors. Adjective words which largely accounted for aesthetical senses included uncomfortable, warn, chaste, intellectual, bright, unique, regular, luxurious, classical, ornamental and beautiful suggesting that the Korean traditional wedding dress for women is somewhat unfunctional, but high in attractiveness and aesthetic beauty and has a better classical harmonization of dignity and revelation. Aesthetical senses were most different according to nationality(Korean and Japan) when they were analyzed in terms of nationality, gender and whether of specialization or non-specialization. Japanese people had unique and interesting senses while Korean people, chaste, calm and delicate aesthetical senses. According to gender, men revealed free senses and women, classical ones. According whether of specialization or non-specialization those who specialized in a related field had more unique, straight, regular, luxurious and interesting aesthetical senses that those who did not specialize.

• 헤리티지:역사와 과학
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• 제56권3호
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• pp.76-98
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• 2023

국립중앙박물관 소장 《회혼례도첩》(덕수6375)에 묘사된 남녀 등장인물의 복식을 분석하고 《회혼례도첩》의 제작 시기를 추정한 결과는 다음과 같다. 첫째, 주인공 노신랑은 <전안례도>와 <교배례도>에서는 평소 관원으로 착용하던 흑단령을 착용하였다. 그 외 <헌수례도>와 <접빈도>, <중뢰연도>에서는 패영 없는 자립에 옥색 포, 홍색 세조대를 둘렀다. 기럭아범은 자립에 귀 옆에 묶은 패영을 달고 흉배를 부착한 무문 흑단령을 착용하였다. 성인 남자 자손과 하객들은 도포 등 당시의 대표적인 포 종류를 착용하였는데 특히 무관으로 추정되는 인물들은 철릭, 직령을 착용하고 붉은 색 띠와 청색 계통의 띠를 신분에 맞추어 착용하였다. 징씨(徵氏) 등 안내자는 중치막과 홍단령을 착용하였으며 어린 동자들과 시동(侍童)은 중치막을 착용하였다. 술을 따르고 음식을 나르는 총각들은 땋은 머리에 소창의(小氅衣)를 입고 성인들은 전립(氈笠)에 소창의를 착용하였다. 군영 소속의 세악수들은 소색 소창의에 흑색 전복, 그리고 허리에 남색 포대 등 군복을 착용하였다. 둘째, 노신부는 <교배례도>에서는 거두미와 초록원삼 차림을 하였고 <헌수연도>에서는 남치마·옥색저고리 차림이 확인되었다. 여자 자손들은 어여머리에 비녀와 반자, 진주댕기 등의 칠보장식을 하였고 다양한 색상의 저고리에 남색과 홍색, 옥색 등의 치마를 입었다. 남치마에 초록 장옷을 입은 부인도 확인되었다. 홍치마에 초록색 회장저고리를 입은 <교배례도>의 동녀(童女) 4명은 낭자머리에 비녀 꽂고 도다익 댕기를 길게 드리웠으며 칠보족두리를 썼다. 비자(婢子)들은 어여머리에 가리마를 썼으며 양반 부인들과 유사한 치마·저고리를 착용하였으나 색상이 연했고 치마의 길이가 짧았으며 치마의 부풀림 정도가 약하였다. 기녀는 양반 부인과 비슷한 모습이었으나 색상이 덜 화려하였으며 어여머리에는 칠보장식이 없었다. 셋째, 주인공의 자립 착용, 철릭과 직령을 입은 하객들, 군영 소속 세악수 참여 등에 근거하여 회혼례의 주인공이 병조나 군영과 관련된 인물이었을 가능성을 제시하였으며 군영 악대의 전복의 소매 길이와 잠화 사용, 어여머리의 형태와 댕기, 저고리의 길이와 치마의 부풀린 형태 등에 근거하여 《회혼례도첩》의 제작 시기를 1760년대~1780년대로 추정하였다.

• 복식
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• 제65권3호
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• pp.131-150
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• 2015

This article studied the procedures and items used in royal princess weddings by examining "Garyedeungrok(嘉禮謄錄)" which describes Princess Hwasun(和順翁主, 1720-1758)'s wedding in 1732. This was the first wedding by a princess during King Yeongjo(英祖)'s reign. Preparation for the wedding was made based on the previous weddings of royal princesses, but it did not follow the old tradition. The wedding costs were cut down, and it was done in a simpler way than before. However, the simplification of elaborate wedding outfits were not part of this change as ceremonial robes such as No-ui(露衣), Jangsam(長衫) and Chopo(綃袍) were used without much alteration. The wedding ceremony of Princess Hwasun shows the transition process from the royal princess wedding ceremony traditions and rituals in the late 17th century to "Gukhonjeongrye", which emerged and became solidified as a new social norm in the 18th century. A legitimate royal princess and a de facto princess from King's concubine were hardly different when it came to their royal outfitting but the disparity in social status between the two was found in the materials used to make clothes for their respective husbands. Princess Hwasun's wedding procedure shown in "Garyedeungrok" is similar to that of "Gukjo-orye-ui(國朝五禮儀)": Napchae(納采), Nappye(納幣), Chinyeong(親迎), Dongroe(同牢), Hyeongugo(見舅姑), Hyeonsadang(見祠堂), and Seojohyeon(壻朝見). But "Garyedeungrok" deals with the procedures of Gantaek(揀擇), Buma-guanrye(駙馬冠禮), and Seonon(宣醞), which are not included in "Gukjo-orye-ui", and also with the process of preparation for wedding items and the information of related people. However, it is hard to learn about its specific shapes and features because it is often restricted to lists such as a list of clothing. Collecting new materials and an in-depth and succeeding study are required in the future.

• 복식문화연구
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• 제15권6호
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• pp.939-951
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• 2007

This paper is about bridegroom's wedding robe, danryung(團領, a kind of official uniform) which can be found in the scenes of wedding ceremonies such as Chohaeng(初行, a ceremony that the bridegroom goes to the bride's house for wedding) and Hoehonrye(回婚禮, a ceremony that celebrates the $60^{th}$ wedding anniversary) in the genre paintings from the $18^{th}$ century to the $19^{th}$ century. In the documents of the $18^{th}$ and the $19^{th}$ centuries containing the wedding information of that period, danryung was described in various red tones ranging from Ja(紫, purple), Gang(絳 crimson), to Yeonhong(軟紅, pale pink). Similarly, red danryung(紅團領) was seen most frequently at the Chohaeng sights of the genre paintings. On the other hand, it was often depicted that the bridegrooms put on various colored danryungs at Hoehonrye. This was because bridegrooms at Hoehonrye wore their full dress according to their official ranks. In the genre paintings of the 18th century, all bridegrooms wore simple danryungs without hungbae(胸背, official insignia panel) except those in Hoehonrye painting where officials used hungbae. On the contrary, hungbae was discovered in the $19^{th}$ century Chohaeng paintings even though it was not precisely painted. This change of the bridegroom's danryung with hungbae attached was related to that of the official uniform system itself, in which black danryung with hungbae was exclusively used for officials. Afterwards it became the basis of the blue danryung of the present day.