• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.168-183
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• 2014

When expressing Jesus Christ visually in the medieval Christian paintings, the most important issue was portraying Christ's divinity and humanity in a balanced manner; showing both attributes as Son of God and a human being. The purpose of the study is to examine both the formative and the symbolic characteristics of divinity and humanity on Christ's clothes in the Medieval paintings, Baptism of Christ. In the paintings, there are iconographical devices to show His divinity including God, Holy Spirit, the Trinity and the Jordan River. But Christ's body is definite evidence to show his humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the baptism of Christ were as follows: Blue, gole, purple, and white are the emblem of divinity, while the colors red and white stand for the humanity of Christ. In addition, the divinity of christ is expressed through the decoration on the clothes, while the humanity of Christ is shown through the structured drapery and transparent material.

• The Research Journal of the Costume Culture
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• v.32 no.3
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• pp.398-418
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• 2024

This study aims to examine how the body and clothing of Jesus Christ are represented in the Russian Transfiguration of Christ icons of the 15th and 16th centuries and why it is considered to have established a distinct Russian iconography free from Byzantine influence. The study analyzes the Russian icons comparing them with their Byzantine prototypes to identify the distinctive 'Russianness' of the representation. The research methods comprise a qualitative analysis of the literature on Russian Orthodoxy, Russian icons, Christian theology, and Christ's clothing and an empirical analysis of the icons. The scope of the study is limited to Russian icons from the 15th and 16th centuries and Byzantine icons from the 9th century onwards. The study found that, compared to Byzantine icons, the Russian icons exhibit a more elongated body, darker facial features, and lighter clothing. A statistical analysis using the Mann-Whitney U test further revealed that the Russian icons feature a stiffer, simpler form, more opaque material, and more defined clothing boundaries. These stylistic differences suggest that the 'Russianness' in the expression of Christ's body and clothing in the Transfiguration of Christ icons derives from creativity, abstractness, and tradition. Rather than a simple recreation of the historical Christ or adherence to the Byzantine tradition, the Russian iconographic representation emphasizes Christ's transfiguration into a luminous form, as described in the Bible, accentuating his divine nature over his human aspects.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.30-44
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• 2010

The definition of pregnancy has changed as society and its values have developed through different periods of history. In the ancient period, the definition of a woman's fertility was that female deities provided fecundity to barren women and barren land, and protected both the pregnant women during the period of gestation and also the land during the time of growth. These goddesses also administered the appropriate ceremonial rituals for conception and childbirth, and for planting and harvesting. After that, for the last 2,000 years, the most conspicuous icon has been "The Virgin Mary with the Infant Christ". Mary was the mother of Jesus Christ and model for Christian women. However, the centuries the image of woman and pregnancy has been changed, modern society through education, careers and job opportunities allows many women to be more than just a wife or a mother. Moreover, in the 21st century, many pregnant women want stylish maternity wear because they are proud and their minds are opened by these new icons of birth culture as like the pregnancy of many famous stars. From this the purposes of this study are as follows, Firstly, to study on the meaning of woman's fertility from ancient period to present time by social changes. Secondly, to investigate the historical concept of the maternity wear for current modern maternity fashion market. Finally, to expect to use this study would be helpful basic data for develop of the new researches of the maternity fashion in the future.

• Korean Journal of Human Ecology
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• v.12 no.3
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• pp.377-389
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• 2003

The purpose of this study is to obtain the symbolic meaning of the priestly costume through the Bible. Based on corroborative the Bible, this thesis analyzes the costume of priest. This compares the two onyx stones on the shoulder pieces with four rows of precious stones on the breastpiece. This era falls on about from the 15th century before Christ. It was found that the breastpiece was a piece of the same multicolored linen as in the ephod, a span square when folded double. It symbolizes righteousness. It hung on the high priest's chest, supported by two golden chains attached to the shoulder clasps. It symbolizes love. On the breastpiece were twelve beautiful jewels, arranged in four rows of three jewels, each jewel symbolizing one of the tribes of Israel. The variety of jewels on the breastpiece suggests the variety of people. Urim is the Hebrew word for 'lights' and therefore would logically be associated with bright or white stones. Thummim is the Hebrew word for 'perfection'. The high priest's ephod was made of gold, and of blue, purple, and scarlet yam, and of finely twisted linen. The golden yam symbolizes faith. The robe of the ephod was made entirely of blue cloth. The blue color symbolizes an obligation and life. The robe of the ephod symbolizes calling and dignity. The woven tunic symbolizes holy duty.

• Journal of Fashion Business
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• v.12 no.5
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• pp.126-140
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• 2008

This thesis aims to examine the symbolism of color in the clothing of women, focusing on the protagonist of the movie Elizabeth: The Golden Age (2007). At the beginning of the movie, the Queen wears gowns with cartwheel ruff and wheel farthingales, symbolizing the attempt of establishing a powerful majesty. However, the Queen falls in love with Walter Raleigh and her clothing comes to emphasize femininity displaying her cleavage. Later on, her clothing indicates charismatic authority as she prepares for the Spanish war. At the end of the movie, the Queen who led the the country to victory in war puts on a luxurious gown with butterfly wings that reminds of a fairy queen. The colors of the Queen's clothing are categorized into three groups. First, the color red represents two opposite allegories. The positive image of red denotes Christ's blood, the love of God, and noble status of the Queen's image as a savior of England. On the other hand, red represents lewdness and evil which insinuate that the Queen is being attacked on her religious and political genuineness. Second, the color blue represents Saint Maria, chastity, and divinity. Third, the color goldw and white represent the Queen's ideals which are chastity as a virgin Queen and divinity.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.29-42
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• 2012

Historically, the pattern and technology of Copts' textiles, who were a minority in Egypt, have been studied a lot in the textile sector due to its unique characteristics. Unlike ones in other regions that appeared around the same time, the overall configuration ratio of the patterns looks exaggerated or distorted because they expressed it plainly by interpreting the world with ordinary people's eyes. Also, because it had used mixed linen and woolen yarns, harsh expression way and the use of various colors have been one of the features in Coptic textiles. Coptic textiles, which have been developed along with the historical development of continued domination from neighboring countries, have expressed the effects of the Roman Empire, Christ, Christianity, and Islam on the pattern of its fabric. This study analyzed its characteristics which make people smile by the way of expressing a simple and humorous representation of the textiles and categorized them as Humoristic Beauty - the aesthetic category of humorous feature. In this study, the Humoristic Beauty in Coptic textiles has been analyzed in terms of the following three smiles; the smiles coincidental with the flow of time, the smiles made by the shaping of distorted proportions and appearance, and the smiles like folk-paintings made by a rustic expression way. This study shows the possibility of the further studies on the textile patterns history from a different angle. I look forward to more detailed analysis in the follow-up studies in the future.

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.147-156
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• 2011

Double meaning inherent in the film is interpreted in the same context as it's called ambiguity in the literature. Ambiguity means that one word or one sentence can be interpreted in two or more meanings. In the movie, one behavior of a character, a prop or a costume with two or more meanings faces the audience. A famous French direct Francois Ozon said "The director has always made movie contrary to his/her latest movie." This means that the film should seek to reform and it's his philosophy about the movie. Actually, it's the film's basis that a movie breaks the taboo. The film has always challenged taboos and led the progressivism. Taboos of western films are more intense than our country's moral and ethical level. Their taboos are to deny the sacred and legitimacy of Christianity. Particularly, as many people talk about the film to deny the divinity of Jesus Christ, it's sufficient to elicit an argument pro and con. This study is to choose the movie "Perfume"of director Tom Tykwer as a text, examine the highly elaborate and strategical double meaning in the movie and analyze the western taboos to deceive the audience skillfully.

• Journal of the Korean Society of Clothing and Textiles
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• v.3 no.1
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.