• The Research Journal of the Costume Culture
• /
• v.12 no.1
• /
• pp.73-89
• /
• 2004

The following is a summary of comparative study on costumes between 『Cheng-Hoe-Jeon-Do』 and 『Chen-De-dang-an』 in Gun-Ryung 41st, 42nd and 43rd yew to find out costume situation actually worn by Emperor Gun-Ryung in Qing dynasty. In Gun-Ryung 41st year, Emperor's costumes showed a sign of royal tour robes. In 42nd year, a phase of mourning robe system came out and a plain side of costumes was shown owing to the mourning. In 43rd year, it showed costume situation worn by Emperor in peaceful year without any particular event. Velvet, material for traveling crown was used in a short time before and after the change of the season besides royal tour and this can be understood as a well-timed and reasonable selection of material. Eventhough robe material, Jik-kyung-Ji-chack-sa(a kind of silk) had been used for summer robes since Gun-Ryung 42nd you. Memorial costumes followed Emperor's court costume system I in 『Cheng-Hoe-Jeon-Do』 and court belt I or II as memorial suit belt was used for the memorial costume of Emperor Gun-Ryung and they properly applied of the costume system in 『Cheng-Hoe-Jeon-Do』 for coats.

• Journal of the Daesoon Academy of Sciences
• /
• v.16
• /
• pp.217-226
• /
• 2003

당시(唐詩)에는 당나라 사람들의 생활상이 많이 반영되고 있으며, 이러한 기록들은 많은 부분에 있어서 역사서적의 내용과 일치하기도 한다. 그러므로 우리는 당시를 통하여 당나라의 제도 뿐만 아니라 당나라 사람들의 생활도 광범위하게 이해할 수 있다. 본 고에서 우리는 당시에서 언급되고 있는 당나라 사람들의 복식에 있어서 몇 가지 문제들을 간략히 서술하기로 한다. 당대 초기에는 수나라 복제를 따랐으나, 태종(太宗)과 고종(高宗)을 거치면서 품급에 따라 복색을 구체적으로 구분하였으며, 여자들도 남편의 복색을 따랐다. 황색을 황제의 복색으로 한 것은 고종 총장 원년(668)에 시작되었다. 고종 상원(上元) 원년(674)에는 또 관원의 품급에 따라 색깔의 짙고 옅음을 엄격히 구분하였을 뿐만 아니라 요대의 장식물 재료에도 상세한 규정을 함으로써 신분의 차이를 더욱 구체적으로 구분하였다. 관복의 색깔로 등급의 차이를 구별한 외에도 5품 이상의 관원에게는 어부(魚符)를 담는 어대(魚袋)를 차고 다니게 함으로써 귀천을 분별하였고, 조정의 부름에 응하는 부신(符信)으로 삼았다. 어부는 물고기 모양으로 관등에 따라 금(金)·은(銀)·동(銅)으로 만들어 몸에 지니고 다녔다. 관원들은 갓의 모양으로도 귀천을 구분하였다. 귀족을 갓을 썼으나 평민은 쓰지 못하였고, 문관과 무관도 갓을 각기 달리하였다. 당시에는 또 여자들의 복식과 관련한 묘사도 상당히 보인다. 당나라 때의 여자들은 한(漢)나라 진(晋)나라 때와 마찬가지로 일반적으로 윗옷과 치마를 입었다. 치마는 가슴에서 동여매었고, 그 길이도 매우 길어 땅에 3촌(寸)까지 끌렸다. 여자들은 대개 상의(上衣) 밖에 이른바 반비(半臂)라는 반소매의 옷을 입었다. 본래는 궁녀들이 일하기 편리한 복장으로 입었는데, 후에 점차 여자들의 평상복이 되었다. 여자들의 눈썹과 머리형에 관해서도 당시에는 많이 묘사되고 있다. 여자들의 머리장식과 화장 그리고 몸의 각종 장식구에 대해서도 당시에는 상당히 언급되고 있다. 당나라 여자들의 복식에 있어서 가장 큰 특징은 국내 소수민족 및 외국의 복식에 영향을 받아 "호복(胡服)"을 즐겨 입었다는 점이다. 이른바 "호복"은 서역만을 가리키는 것이 아니라 주변국들의 복장도 가리킨다. 여자들이 쓰는 모자와 신발에도 많은 변화가 생겼다. 당나라 중원지역에는 "만화(蠻靴)"를 신는 여자들이 생겨났으며, 이것은 호복의 하나로 호화(胡靴)라고 칭하기도 하였다. 여자들의 미와 상대적인 자유에 대한 추구는 당시에 강렬히 나타나고 있으며, 이것은 당나라 여자들의 사상이 점차로 개방화되고 있음을 시사해 준다. 이러한 개방의 과정은 당나라 사회의 개방과 사상문화의 교류·진보와 밀접히 관련하는 것이다. 그래서 당나라 사람들의 복식에 대한 당시의 묘사는 우리가 당나라 사회와 사람들의 생활을 이해하는데 중요한 단서가 되고 있다고 말할 수 있다.

• Journal of the Korean Society of Costume
• /
• v.55 no.2 s.92
• /
• pp.70-81
• /
• 2005

This paper researches the system of official uniforms and characteristics of the system based on Ming-Shi(明史), Da-Ming-Hui-Dian(大明會典) and Hong-Wu-Li-Zhi(洪武禮制) in the emperor Hong-wu(洪武帝) of Ming dynasty(明). The system could be divided in to three terms, i.e., the early (initial), the middle and the end (last) terms. In the first(1368) & the third year of the emperor's reign (1370) the system of official uniforms was simple f9r his people not to be luxurious and for revived the system of official uniforms of the Han dynasty(漢) and annulled the system of the Yuan dynasty(元), be-cause the country was not stable yet. During the middle term of Hong-wu, the 14th (1381) to 16th (1383) year of his reign, people attained luxurious lives and developed a strong sense of rank as the country became more stable. As a result, the system became more complicated when the emperor used the costumes to represent political and social ranking. In the end of the emperor's age, the 23rd (1390) to 26th (1393), it reveals his strong intention to establish a system of costumes that separated the ruler from the ruled. He wanted to strengthen the power of Emperor for his little grandson, Jian-wen(建文帝), who would succeed to the throne and would have absolute power. These changes became fundamental to the Ming dynasty's costume system and the Ming dynasty kept them for long time.

• Journal of the Korean Society of Costume
• /
• v.56 no.8 s.108
• /
• pp.74-82
• /
• 2006

In ancient China, Su(綬) was the ornament of the full dress. It had originated from tying the jade or another thing before Jen(秦:Qin) dynasty and it tied the imperial jade seal and the chop from Han dynasty. Su of Han dynasty was different in the inscape, colour, length and density according to the grade. And the shape was the straight line. But these phenomena were changed after Han dynasty. This study showed how it changed. To studying used the comparison method of literature records, paintings and archeological relics. It mostly studied imperial Su. Su of Han dynasty of the high grade was formed by Yeok, the circle type jade and Su(Su moaned whole Su, at the same time moaned the part of Su, too). Afterward, Yeok was changed into Small Su[小綬] and Su was changed into Big Su(大綬). Originally the circle type jade was connecting Yeok to Su, but it was changed into tying Small Su only. Su of Han dynasty used the four kinds of colour, but from Su(隋: Sui) dynasty used the six kinds of colour. Originally Su was interlacing, but it was changed into the silk fabric from Song[宋] dynasty. According to using silk fabric's Su, it was likely to disappear the system distinguishing the grade by length. And it kept the method of interlacing the reticulation in the low part of silk fabric's Su. So, after using silk fabric's Su, the system of the density was not about the main body but about the reticulation. Su was been used woven with supplementary golden wefts, too. The circle type jade was chiseled the dragon and cloud from Geum[金:Jin] dynasty. These not the pattern of silk fabrics.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.1
• /
• pp.142-160
• /
• 2023

The position of the people who participated in the Bapyo Ritual held in the reign of King Sejong and the corresponding costumes were examined. The king, who was the executive body of the ritual, wore Myeon-Bok, a court dress, and Myeon-Bok was Gujang-Bok made of Jang-wha on Guryu-Pyeongcheongwan. Crown princes, royal families, and government officials wore Oryang-Gwan and Jekraeui, which were Jobok. The crown princes' Joboks were changed from Oryang-Gwan to Wukryang-Gwan in the dynasty year 10 of King Sejong, and in the year of King Munjong's accession, Myeon-Bok was received, and after King Danjong, the crown princes wore Palryu-Pyeongcheongwan and Chiljang-Bok. Diplomats and Jongsagwan who were the envoys wore Sangbok. A Sangbok worn by the diplomat was Samo with Danryeong, Seo-Dae, and Hyeopgeum-Hwa, and a Sangbok worn by Jongsagwan was Samo, Danryeong, Heukgak-Dae, and Heukpi-Hwa. Byulgam, who served as an attendant to the king in the king's close quarters, wore Gongbok and Sangbok. Gongbok consisted of Ja-Geon, Danryeong and Heukpi-Hwa, and Sangbok consisted of orange color Cho-Rip, Jikryeong, Joa, and Heukpi-Hwa. The person holding San, Gae , Sujeongjang, and Geumwolbu wore Ja-Geon and Cheong-Ui, and Seon wore Pimoja and Hong-Ui. Siwigun wore armor and helmets equipped with weapons. Among court musicians, Aksa's costumes consisted of Bokdu, Bigongbok, Geumdonghyeokdae, Bibaekdaedae, and Opiri, and Aksaeng's one composed of Gaechaek, Bisuransam, Hyupgo, Mal, Maldae, and Opiri. As a result of the above, the process of ceremonial clothes becoming uniform clothes in the reign of King Sejong was confirmed. The king and lower-ranking officials such as crown princes, government officials, diplomats, Byulgam, armies for ceremonial weaponry, and court musicians participating in the Bapyo Ritual wore the highest grade of ceremonial clothes for each class. King Sejong had repeated discussions to build a nation based on Confucianism, and arranged each rite and corresponding costume, and the Bapyo Ritual costume was also systematically prepared for each position. The ceremonial clothing organized during the reign of King Sejong was regulated in Yejon and became the basis for continuing to the late Joseon Dynasty.

• 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.

• The Journal of Natural Sciences
• /
• v.7
• /
• pp.133-162
• /
• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.