• Journal of the Korean Society of Costume
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• v.53 no.4
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• pp.71-85
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• 2003

The costume of the 17th Century based on the excavated costume from the graves of Tong-Rae Jwg Clan are studied in this paper. The remaining were used for filling up the coffin consists of 1 piece of Dopo(도포) from the grave of Jung, Kwang-Kyung, 7 pieces of Joongchimak(중적막), 1 piece of Sochng-eui(소창의), and 1 piece of pants from the grave of Jae-Hoo Jung, grand-son of Kwang-Kyung Jung. From these remainings, this study newly reveals or confirms : 1) Standards of transition Procedure of mid-l7th century's Dopo with gussets, 2) Standards of transition procedure of late 17th century's Joongchimak with wide sleeves and side slits, 3) Standards of transition procedure of late 17th century's Sochang-eui with narrow sleeves and side slits, 4) Typical style of pants in the 17th century, 5) The constructive methods for quilted fabric.

• Korean Linguistics
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• v.39
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• pp.223-257
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• 2008

The purpose of this paper is to get characteristics about Korean negative sentences in the 17th century. In this paper used method is to classify and collect statistics of negative sentences in the 17th century Korean literatures, then to reclassify according to morphological characteristics of predicates. The subjects of analysis are 'ani'(don't)' and 'mos(can't)' negative sentences except for 'malta(forbid)' negative sentences.

• Fashion & Textile Research Journal
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• v.11 no.2
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• pp.231-241
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• 2009

Embroidery is one of the oldest methods of textiles surface decoration. The masterpiece "Tapisserie de Bayeux," is one of the earliest Medieval embroideries. Embroidery was popular on a broad scale with introduction of what was called Opus Anglicanum("English work") in the 13th century. France had been producing sophisticated embroideries since the 16th century. England was the country producing the greatest quantity of embroideries of the best quality in the 17th century. Until the 17th century, the Church was the most important patron of needlework. Then a shift in emphasis occurred towards the domestic embroidery. English 17th century domestic embroidery reached a high point of technical brilliance and charm. In France, embroidery was produced on hangings as well as costume. 18th century interest in embellishing the domestic environment, embroideries became much more finely detailed than those of the 17th century with the use of finer wool and silk threads. French silk were the finest in the world, and their embroidery was arguably equally fine both in furnishing textiles and on costumes. "Art Needlework" was the major movement in embroidery in the late 19th century. The Royal School of Needlework was founded in 1872, followed by similar institutions around Britan. Splendid fashion embroidery of French haut-couture that was represented to Lesage atelier in 20th century.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.395-413
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• 1994

Costume is mirror of diverse life styles and attitudes in human life. It has a meaning beyond "clothing" . Fashion illlustration is to express these costumes with a picture. So, it can be said that it is a ′mirror of costumes′ in historical side. The purpose of this study is to find the meaning of fashion illustration of 17th century, which called its first one and to look into its characteristics and costumes of 17th century respotlighting fashion illustrators and painters related with fashion illustration in those days. This study is based on Western Europe by literatures. The fashion illustration in 17th century designed by painters and fashion illustrators. They are Wenceslaus Hollar, Abraham Bosse, Jacques Callot, Jean de st Jean, N. Bonar, A. Trouvain, A. Arnoult in France and so on. The characteristics of fashion illustration in 17th century are as follows : 1. There was a quickening of modern civil consciousness in 17th century. As the subject of costume culture moved from noble class to the working class which began to have a free, the fashion illustration changed to the direction of informing their social class and job. 2. The fashion illustrations of 17th century showed storng realism which was a base of modern picture. 3. The most of them showed costume plates. It was not to transmit adding intended forecast but to describe sincerely in costumes′ record. However, the fashion illustration since the middle of 17th century was designed considering fashion. 4. It could be said that the fashion illustration of 17th century was the forest one of today. It was expressed by Wenceslaus Hollar′s ones. And it is found in his suggestion of popular costumes before and behind and delicate description like accessories. 5. They were transmitted by fashion magazines internationally. Le Mercure Galant, which printed mode plates in 1678, was the first modern fashion magazine aiming at general readers. The fashion illustration of 17th century can divide into ones for court, for working classes, costume plates. The fashion illustrations for court designed by court painters. There were court costumes of early time, spanish Mode and of lately time, French Court Culture. They had baroque elements with a bunddle of ribbons and race decoration. On the other hand, the fashion iooustrations for working class were under the influence on Netherlands styles. They were designed for the purpose of god function and much use. That′s why was under the influence of puritanical life creed. In this situation, the costume plates directed the fashion in those days. At that time, they were supplied widely and it amy be an attempt of popularization. The fashion illustrations of 17th century appeared that they had transmissible character and artistics expression. On the basis of them, we can look into the fashion illustrations of today.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.55-67
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• 2005

The purpose of this study is to document an unidentified velvet fabric which is located in the Museum. The investigation was conducted by analyzing color, weaving technique. pattern of the study object. To identify the origin of the object, many references about color trends, construction methods and patterns were accessed. Two comparative objects which were dating from 1600 to 1699 in the Museum of F.I.T. were selected since they are similar to the study object. The results of this study can be summarized as follows; (1) The type of this study object is 'cut and voided velvet'. It is obtained establishing the motif as areas of cut pile so as to form a pattern, while leaving other areas of the grounded weave without pile. Two flowers and two tulips with S curved stems are composed as one unit in the vertical direction. (2) The colors used in this study object. which are ivory, smoke blue, medium orange, and yellow. are part of a new trend color in the $17^{th}$ century. (3) The vertical undulating stripe patterns are also of significance in this fabric. They seemed to be contemporary with the serpentine line which was common since the $15^{th}$ century and the vertical stripes pattern which appeared from the $16^{th}$ century. (4) The stylized tulip patterns of this study object began to appear in the early $17^{th}$ century. The stems and leaves of this patterns are less sinuous than the floral motifs of the later $17^{th}$ century. Therefore, the study object is dated to early in $17^{th}$ century because of the color combination. stripes. stylized tulips, leaves. and stems are showing the characteristics of this period.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.102-117
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• 2008

This study shows the badge system for military officials of Joseon dynasty. The badge system for military officials of the 15th century consists of rank badges with tiger and leopard for the first and second ranks and rank badges with bear for the third rank. According to the code of laws, military officials are supposed to wear the rank badges with four different kinds of animals in Joseon dynasty. However, the badge system shown in the code of laws sometimes does not match with the badges in practices. Based on the literature, remaining badges and the badges in portraits, six different kinds of badges with animals are found : First, rank badges with tiger and leopard were used until the late 16th century. Second, rank badges with tiger were found in the period between the early 17th century and the latter 18th century. Third, rank badges with Haechi were found in the early 17th century. Fourth, rank badges with lions can be found in remains of the mid 17th century, the literature and the portrait of the late 18th century. Finally, the rank badges with double leopards or with single leopard were found from a portrait dated the late of 18th century to the last period of Joseon dynasty.

• Journal of Educational Research in Mathematics
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• v.24 no.3
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• pp.409-428
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• 2014

The purpose of this study is to examine the features of the curriculum of Chosun-Sanhak(朝鮮算學), the mathematics of Chosun Dynasty in the 17th to 18th century. The results of this study are as follows. First, the goal of education, teaching-learning method and assessment of Chosun-Sanhak in the 17th to 18th century had not changed since the 15th century. Second, the changes in the field of the organization of mathematical contents were observed. Chosun-Sanhak in that time was higher in the hierarchy than in the 15th to 16th century. The share of the equation and geometry had increased and various topics of mathematics had been studied as well. Third, in the field of the characteristics of mathematical contents, the influx of European mathematics and the uniqueness of Chosun-Sanhak had been observed. In conclusion, The 17th to 18th century was the time when Chosun-Sanhak had pursued the identity escaping from the effects of Chinese-Sanhak.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.71-86
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• 2008

The Purpose of this article is to study the excavated women's costume of the Joseon Dynasty, and to help identify the period of those costumes with the time of the burial unknown. The excavated women's costume is concentrated in 16th to 17th century, and the reason is due to the method of the burial. The characteristics of costumes from each period is as follows. The special features about 15th century costumes are the women's Dan-ryeong(round-collared jacket), Dae-gum style shirt(shirt with the squared collar facing each other), and skirt with horizontal dart. The 16th century costumes are the women's Dan-ryeong, wide Jegori with various length, skirt with horizontal dart, skirt with its hem folded, and pants with shoulder strap. In the 17th century, the formal dress changes to Won-sam from Dan-ryeong. The collar changes from the squared shape to the cut Dang-ko collar, and the skirt with its hem folded is not seen after the early 17th century. The long jacket changes to Dang-ui and gets settled, and the clothes becomes smaller and tighter. In the 18th century, the women's formal dress gets settled to Won-sam and Dang-ui, and the pants with shoulder strap is no longer seen. Jegori becomes shorter and smaller compared to those from the 17th century, and again gets wider and bigger in the late 18th century, and it leads to the change of making a big sized shroud.

• Journal for History of Mathematics
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• v.22 no.4
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• pp.15-28
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• 2009

In this paper, we study the 17th Century Chosun's mathematics book ${\ll}$Muk Sa Jib San Beob${\gg}$ written by Chosun's mathematician Kyeong Seon Jing. Our study of thebook shows the ${\ll}$Muk Sa Jip San Beop${\gg}$ as an important 17th Century mathematics book and also as a historical data showing the mathematical environment of 17th Century Chosun.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.3
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• pp.205-220
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• 2007

In the 17th century, men's hair style showed a dramatical change to thick hair style with femineity. During the 17th century, men wore their hair longer than at any other time in the history of western culture. Men's hairs in the early 17th century were defined as short hair style influenced by ruff collar of renaissance and thick beards and moustaches During the mid 17th century, shoulder-length hair style was predominant over all classes. As hair style became long, beards and moustaches gradually declined in favour: from 1625, small neat beards, and moustaches turned up at the ends, got progressively smaller, and by 1650 the beard was only small tuft on the chin, disappearing completely by 1680. In the late 17th century, very long, thick and shiny hair got a great popularity with the gorgeous and decorative baroque costume dominated over the entire Europe. The habit of adding false hair when natural hair was deficient led to the introduction of the periwig, which became an essential part of a fashionable man's attire. Wiggery were widely used to express curled and puffed hairs more exaggerated. As the long hair style with wiggery became popular, various style of beard and moustache got smallar so that they were ended up in entire disappearance in the end of the 17th century.