• Journal of the Korean Society of Costume
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• v.53 no.4
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• pp.113-129
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• 2003

This study examined textiles used for the ancient costumes that are excavated from tombs of the Chosun dynasty, focusing especially on Po(overcoat). The result of the study is that silk occupies 79.8% of all the textiles used for Po, and cotton and linen follow. The weaving method of silk was primarily plain and satin weaves. However the use of twill, gauze, and double weave, that had led weaving methods of silk during the Koryo dynasty, are considerably decreased in Chosun dynasty. Danlyeong(단령) and Cheollik(첩리) had been made of various textile fabrics like cotton, linen, silk and blended fabric before Imjinwaeran(임진왜란). After the war, they were simplified in gauze weaved silk or satin weaved silk, And also patterned fabric were widely used for them than other Po. Simple fabrics like cotton, linen and plain weaved silk had been used for Aekjureum(액주름) and Jiklyeong(직령) before Imjinwaeran. After the war, Jiklyeong was used as underwears of Danlyeong, so it was made of high quality patterned silk. Dopo(도포) and Changuiryu(창의류) were mainly excavated from tombs after the war, high quality plain weaved silk are used than gorgeous Patterned silk. For the Dopho(답호) and Bansuui(반수의), before the war, they were made with various textiles such as plain weaved silk, twill weaved silk, satin weaved silk, cotton, linen, and blended fabric. But after the war plain weave was mainly used. In Jangui(장의), since it was mostly for women, many kinds of women's patterned silk were used in than any other Po. There were only a few excavation of Simui(심의) and most of them were made of ramie and were hemmed in black satin without pattern.

• Fashion & Textile Research Journal
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• v.10 no.1
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• pp.22-29
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• 2008

In this study, it is investigated the types and the compounding method of flower patterns and the uses of flower patterned fabrics in Chosun Dynasty. Research was done through the references of exhumed clothing during 16-17th century. Our ancestors had used the various flower patterns based on Buddhism, Taoism and Confucianism onto the fabrics. The flower patterns on the fabrics were expressed with the other patterns such as treasure patterns, letter patterns or bird patterns. And the flower patterns symbolized the various good meanings such as longevity, integrity and prosperity etc. In the order of the percentage, the types of the flower patterns were shown Lotus(27.31%), Arabesque(26.85%), Japanese apricot(14.81%), Peony(8.79%), Flowering plants(6.94%), Chrysanthemum(6.01%), Pomegranate(2.31%) patterns and so on. Especially the Lotus pattern was shown up most frequently. That of shape was designed as blooming(開花), full bloom(滿開) and the side of flower(側面). By the compounding method, the compound types mixed with the other patterns were used much more than the individual types composed by its own pattern. The flower patterns were used a lot in Jeogori(Jacket) regardless of the ganders and in men's Po(coat) including Cheollik(天翼), Dappo(胡), Jeonbok(戰服), Dahnryoung(團領), etc. Also contrary to these days, the flower patterned fabrics had come out in the shrouds. Judging from these facts, our ancestors wished that the meaning of the immortal life was included in the flower pattern.

• Fashion & Textile Research Journal
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• v.10 no.5
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• pp.762-770
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• 2008

The purpose of this study was to examine of the flower patterned fabrics used for the Shrouds during 15~18th century in Chosun Dynasty. The Shrouds at that time could be classified by the garments for the dead(殮襲衣) and the utensils used in religious services(殮襲諸具). And we looked into the types and the compounding methods of the flower pattern used for the utensils used in religious services(殮襲諸具) as well as the Shrouds accounting to the uses. Results of this study are as follows. 1) The flower patterned fabrics weaved as the uses of the garments for the dead(殮襲衣), item by item, were divided into the upper garment, the lower garment and men's Po(coat). 2) Seeing Jeogori, mixed various flower patterned fabrics, among the upper garment, there were focused on the various good meanings such as longevity, integrity and prosperity etc. 3) The flower patterns in men's Po(coat) were used a lot in Jangui and Dahnryoung. Cheollik, Dappo, Jeonbok, etc made of the flower patterned fabrics, were of small number but we can feel an aesthetic sense of men at that time. 4) The flower patterned fabrics weaved the lower garments, were used much more in the skirts than in the trousers, for reasons of the wrapping a dead body. 5) Seeing the flower pattern used the utensils used in religious services(殮襲諸具), the pattern of Lotus and Arabesque, among the types of flower pattern, had a majority.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.69-88
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• 2016

The purpose of this study is to delve into the identity of the New-Hanbok style in modern fashion, and to survey its formative characteristics and internal values from the perspective of vernacular design. Arguments can be summed up as follows. The study historically examines the changes in Hanbok and concludes that the social and cultural backgrounds and factors that caused the advent of the New Hanbok are (1) the change and expansion of the basic social, cultural, and popular perception toward the Korean image, (2) the rapid spread of a subculture centering on the younger generation, and (3) the voluntary and systematic activities of nonprofit clubs, communities and private organizations. This is the cycle of the spread of Hanbok, which shows the subcultural selection and development process of upward propagation. Furthermore, the public, in addition to holding fast to an independent attitude regarding their choices, also show that they tolerate diversity. As a perspective of analyzing the New Hanbok style, the study suggests the characteristics of the vernacular design perspective as (1) a spontaneous indigenous nature (2) living everydayness (3) and the subcultural-ness of the era. From such a perspective, the study examines the formative characteristics of the basic costume configuration of the New Hanbok style including jeogori, traditional Korean skirts, Cheollik one-pieces, and Trompe l'oeil one-pieces, and draws out the meanings contained in the New Hanbok style, which are (1) spontaneous indigenous nature and directivity toward tradition, (2) living everydayness and modernity, and (3) open subcultural-ness.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.