• 복식
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• 제34권
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• pp.151-168
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• 1997

Pi was worn like a shawl or scarf in Western costume In a broad sense it means a skirt a towel a vest and a shawl However the subject of this study has limited a naarrow sense a long shawl Historically it appeared since Jin to Chung dynasty and had various names according to each dynasty Also Pi was changed its shape colour pat-terns and details with various names. Therefore the purpose of the study is to ana-lyze the formative characteristics of pi includ-ing how to wear it through Chinese history.

• 복식
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• 제56권3호
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• pp.57-72
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• 2006

Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. In the beginning, only foreigners danced these dances, but Chinese started to dance them gradually. Thus, the dancing costume showed the complete fusion of Chinese and exotic styles. Especially, in the Tang dynasty, Chinese accepted foreign culture very actively and with open hearts. They accepted foreign culture based on their traditional culture, and fused them completely. In these costumes, not one culture was prominent, but many cultures from Gandhara to East and West Turkistan and even to Persian and Hellenism were synthesized together. Chinese, in the Tang dynasty, retained on their traditional culture and modified new foreign culture into Chinese style.

• 대한가정학회지
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• 제19권2호
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• pp.123-133
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• 1981

If we are to define that the traditional costume is a comprehensive expression of the culture, thoughts, and arts of a country, it is needless to say that the traditional costume would have always reflected the social and cultural aspects of the times. In order words, the cultural contemplation of a certain people at some point the history is only possible when we observe the distintive features of the costume worn by the people of respective times. Although the Korean people had the native costume of its own from the times of the Ancient Choson to the Three Kingdoms of Koguryo, Paekche, and Silla, the Chinese influence on Korean traditional costume became somewhat pronounced ever since the Silla strenghtened the political ties with the T'ang dynasty in China, and it came to a climax when the dual structure in Korean native costume, being compounded with the Chinese touch, continued to be prevailed from the era of the Unified Silla to the Koryo and throughout the succeeding Yi dynasty, thereby copying the typical aspects of Chinese pattern in clothing and dresses worn by the ruling classes, namely the goverment officials including the Kings. Therefore, it is our aim to study the pattern of Chinese influence on our traditional costume, as well as social and cultural aspects by way of contrasting and comparing our official outfit system, which had been developing in dualism since the era of the Unified Silla, with that of China, and to trace in part the Korean traditional costume. In comparing our traditional official outfit system with that of China, we have basically concentrated on the comparison of the official outfit systems during the periods of the Three Kingdoms, the Koryo, and The Yi dynasty with that of corresponding era of Chinese history, namely the dynasties of T'ang, Sung, and Ming, and followed the documentary records for the comparison. Koreans had fallen into the practice of worshipping the powerful in China and begun to adopt the culture and institutions of the T'ang dynasty since the founding of the Unified Silla. From this time forth, Korean people started to wear the clothes in Chinese style. The style of clothing during the period of the Koryo Kingdom was deeply influenced by that of the T'ang and Sung dynasties in China, and it was also under the influenced of the Yuan dynasty(dynasty established by the Mongols) at one time, because of the Koryo's subordinative position to the Yuan. At the close of the Koryo dynasty, the King Kongmin ordered the stoppage on the use of 'Ji-Joung', the name of an era for the Yuan dynasty, in May of the eighteenth year of his rule in order to have the royal authority recognized by a newly rising power dominating the Chinese continent, the Mind. Kind Kongmin presented a memorial, repaying a kindness to the Emperor T'aejo of the Ming dynasty in celebration of his enthronement and requested that the emperor choose an official outfit, thereby the Chinese influence being converted to that of the Ming. As a matter of course, the Chinese influence deepened all the more during the era of the Yi dynasty coupled with the forces of the toadyic ideology of worshipping the China, dominant current of the times, and the entire costume, from the imperial crown and robe to the official outfit system of government officials, such as official uniforms, ordinary clothes, sacrificial robes, and court dresses followed the Chinese style in their design. Koreans did not have the opportunity of developing the official outfit system on its own and they just wore the official outfit designated on separate occasions by the emperors of China, whenever the changes in dynasty occurred in the continent. Especially, the Chinese influence had greatly affected in leading our consciousness on the traditional costume to the consciousness of the class and authority. Judging from the results, Koreans had been attaching weight to the formulation of the traditional outfit system for the ruling classes in all respective times of the history and the formulation of the system was nothing more than the simple following of the Chinese system.

• 복식문화연구
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• 제16권4호
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• pp.661-680
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• 2008

The purpose of this study is to examine to change in the Chinese women's clothing according to the inflow of Western culture in the first half of the both century As for the research method, both literature and visual data are reviewed. Research results are as follows: The Step of transition in clothing by period followed beginning stage, adopted stage, early developed stage, fully developed stage, and static stage. fully developed stage showed a perfect compromise while being applied to Chinese costume with being introduced a three-dimensional cutting method of western clothing even to the constitution as well as to the appearance. Design elements from western clothing are as follows. The transition of silhouette is box silhouette, trapeze silhouette, shift silhouette, and fitted silhouette. In detail and trimming, tailored, band, convertible, shirts collar and zigzag, scallop, camisole neckline and puff, cap sleeve and flounced, bell shaped cuffs and western button, zipper, etc. are adopted. Finally, the Chinese modern style are formed by accepting and transforming the western clothing based on the traditional Chinese clothing.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2001년도 International Costume Culture Conference
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• pp.78-78
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• 2001

• 복식
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• 제2권
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• pp.51-64
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• 1978

In reviewing our costume history, it is noted that costume bas been used as a yard stick for symboliying various social status. During the Lee Dynasty in which confucianism was the predominant religion, costume color, design and its fabric varied distinctly according to class, sex, age, occasion, et al. As in other field of our culture, costume was influenced by the Chinese culture. Although gilding was derived from the Chinese-originated gold-spun fabrics, no credit and praise should be spared for our ancestors of the Lee Dynasty who developed gilding artistry as our own. The use of gilded costume was confined to the formal court wear rather than casual wear even in court and to the nobles than to the commoners. Even among the nobles, gilding designs variously classified were used to distinguish the class. However, the modernization triggered by fores-Japan Annexation Treaty destroyed the traditional cable systems, thereby the limited use of gilding has yielded to the vast demand on the part of general populace.

• 복식
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• 제67권3호
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• pp.31-46
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• 2017

The purpose of this study is to analyse the occurrence and evolution of Mao suit which is important position in the modern costume history of China and to provide a source of design inspiration to contemporary fashion designers. In the research method, literature review and case studies was conducted in parallel. For the literature review, changes of Mao suit in each age were reviewed with reference to the related documents, Chinese costume and cultural history, prior research papers and internet resources. The case analysis was qualitatively done focusing on the silhouette, color and detail of clothes in fashion collections. The scope of the study was from 1912 to 2000. The case analysis of the Mao suit applied to the contemporary fashion was made on the applications centered around 'London Collection', 'New York Collection', 'Paris Collection', 'Milan Collection' and 'Chinese Fashion Week' from 2008 to 2015. The results found that Mao suit changed into many different forms after Sun Wen designed it for the first time in 1912. This study classified it into Phase 1(1912~1927), Phase 2(1928~1965), Phase 3(1966~1977), and Phase 4(1978~2000) with historical and political issues and conformational changes in Mao suit. The frequency analysis of the cases of the fashion collections using Mao suit from 2008 to 2015 showed an increased application of Mao suit to the western collection in New York, Paris and London in 2008 due to the impact of Beijing Olympics. However, from 2009 onwards, the frequency of the utilization of Mao suit was higher in the Chinese Fashion Week and the New York Collection. This cause is explained by the fact that the designers who inspired from Mao suit in the New York Collection are American Chinese.

• 복식문화연구
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• 제20권5호
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• pp.775-781
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• 2012

There are various kinds of patterns on Li brocade textile of Hainan province in China. Those patterns are rich and colorful. Li (黎族) traditional brocade is an ancient exquisite craftsmanship and a world cultural heritage. This study analyzed and categorized Li brocade pattern of traditional Chinese textiles. Li (黎族) traditional brocade is an ancient exquisite craftsmanship. Based on the research of classifications of Li brocade patterns, expound the application of women's costume. The patterns of Li brocade textile of Hainan province analyzed through three levels: design transforming, meaning prolongation, and refining spirit. The patterns were explored the feasibility way to inherit the patterns of Li brocade for the modern fashion product design. The results showed that Li brocade textile pattern of Hainan province were images sourced from local environment and geographical terrain. They contained the nation's history memory, religion, hope for life of the Li nationality. Those patterns can be categorized as human figure pattern, animal pattern, geometric pattern, appliance or architecture pattern, and Chinese character pattern.

• 복식문화연구
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• 제20권5호
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• pp.766-774
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• 2012

Ancient Chinese philosophy has had a profound influence on Chinese clothing culture. The researchers reviewed five ancient Chinese philosophical thoughts on Chinese clothing culture. The results show that they had different view of point. The Confucianism advocated "being elegant and refined in manner". Dong Zhongshu believed "Interaction between heaven and mankind is the center of Dress rules". Mohist insisted "Clothing should meet warm first, and then seek for beauty ". Taoism believed "Although a gentleman wears coarse clothes, he has gem in his chest". Legalism believed "Clothing should focus on quality rather than decoration". These philosophy thoughts all have had a profound influence on Chinese clothing culture.

• 복식문화연구
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• 제7권2호
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• pp.220-224
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• 1999

This study is concerned with the names of is sa mai(잇사매) and ham sa mai(함사매). Origins and meanings of these terms were traced and examined. Some significant findings can be summarized as follows : Korean word is sa mai(잇사매) was a compound word. Korean character is (잇) is derived from Chinese character i, and sa mai(사매) in Korean means sleeves 神 in Chinese character. The character ham in Ham sa mai(함사매) is its origin in Chinese : Korean character ham was Korean pronounciation of the Chinese character, han. ham sa mai is a compound word of ham(함) (Korean), (han ) (Chinese) and sa mai(사매) sleeves(Korean). Thus, first characters of is(잇) in is sa mai(잇사매) and ham(함) in ham sa mai(함사매) are originated from Chinese, where as the word sa mai in the end of is sa mai and ham sa mai is pure Korean. Both character i and ham(han, Chinese) in Chinese means a jaw. Thus, both is sa mai(잇사매) and ham sa mai(함사매) means “jawed sleeves”. That is long and wide round sleeves with narraw wrists.