• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.1-18
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• 2015

The subject of study is about the illustrations of the round collar Po(袍類) in the Akhak-gwebeom(樂學軌範) which was published in 1493. These illustrations are painted records of what musicians and dancers in the palace were wearing during performances. While each illustration of the Po is similar in that they all have round collars, each has a different name Sam(衫), Ui(衣), Dallyeong(團領) and formative characteristics, and these features were analyze in the study. Sam refers to the Gongbok(公服) as it has long and big sized sleeves, Ui is the word used to represent the basic unit of outerwear, and Dallyeong is believed to refer to the Sibok(時服) and Sangbok(常服). In the formative aspects, Sam's auxiliary sleeve is one of the ways wearing the sleeve of innerwear shown outward and it's assumed to have been produced for visually matching the formal look as well as the convenience free to use of hands. The Mu of Dan-ui(丹衣) is less than the number of the excavated artifacts, it produced in a relatively simplified form. Also, illustration of Dallyeong corresponds to the artifacts and configuration of the 15th to 16th centuries, the costume culture of that time seems to be reflected specifically. While Hyungbae(胸背) used in the form of rectangles and circles such as petals. it tried to represent the country at the official event by borrowing the upper class in the costume that musicians and dancers wear, also showed the rank and social status symbolically by having the differences in the shape and pattern. While the costume culture at the time is reflected, it can be found that the objective of raising the country's dignity is implied by transforming the detailed structure for the practicality, borrowing the costume elements of the high social status and transformed them.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.32-45
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• 2012

The purpose of this research is to better understand the Dongmyo, the Eastern Shrine of GuanYu and the military costumes of the Joseon period andto develop different cultural contents. By studying relevant literature, confirmations were made about the various types of costumes and their historical changes. During the reign of King Yeongjo, the ceremonial conductors often wore armors, and the king wore a different military costume. During the reign of King Jeongjo thereafter, the ceremonial costumes were codified in the book, the Chun-gwan tonggo(General Outline for the Ministry of Rites), along with the costumes for the musicians and lower officials. However, the military features were weakened in the late Imperial Joseon years. In terms of costumes, it would be best today to restore the ceremonies of the Shrine of Guan Yu during the period of King Jeongjo. All the costumes for different figures of the Shrine are clearly confirmed, and by emphasizing the main features of the ceremonials of the Shrine, it is possible to differentiate the ceremony from other restoration activities in Korea. For the Guan Yu statue, the hat is square shaped and decorated with nine bead strings, it is dressed with a red dragon coat and a violet inner coat. This study presents methods for the restorations of the original costumes for the individual figures of the ceremonials, with necessary theoretical explanations. The king wears the lamella gold armor, while different ceremonial officials wear differentiated armors according to their different ranks. All the civil and military officials who attend the ceremony wear military clothes with horse's mane hats and swords. The musical conductor and directors are expected in armors and participating musicians also have to wear armors according to the Akhak Gwebeom (Basics of Music).