• Journal of the Korean Society of Costume
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• v.57 no.10
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• pp.129-141
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• 2007

In the cultural realm of Hinduism centering around India, traditional costumes such as Sari, and Dhoti are worn up to date under the influence of religious faith, tradition, and fundamentalism. The purpose of this study is to clarify the religious meaning of unstitched traditional Indian costume and inquire into the figurative beauty of it. This study revolved around India, and the aesthetic feature affected by hinduism was examined based on the literature references and the figurative feature and aesthetic value of unstitched costume were analyzed. The most important feature of Indian costume is the unstitched costume without joining pieces of cloth by using a needle and thread, symbolizing the purity based on the cosmology of Hindu. In the unstitched costume of India, natural drapery that is the large cloth, slipped or tied on body, wrapping it affluently, is emphasized. Unstitched costume of India, based on cosmology of Hindu and the concept of purity, is still broadly worn by people under the influence of fundamentalism and conservative atmosphere. Religious idea is expressed and a beauty of concealment, emphasizing the chastity, is shown in the unstitched costume of India, while a beauty of nature is distinctively revealed in the non-structural and asymmetric drapery costume due to the unique wearing style. In addition, 'A beauty of symbolism' appears in the wearing method, color, the part of wearing, and ornament. Religion has affected overall culture that is inclusive art, aesthetics, and social structure and has contributed to the formulation of costume style. Unstitched costume of India is the unique tradition of India and identity, based on the religious idea.

• Journal of Fashion Business
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• v.13 no.4
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• pp.112-123
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• 2009

The -purpose of this study is to examines the Cheoyongmu's costume of the paintings of Banquets during the Choseon dynasty focusing on the Comparison of the Cheoyongmu's costume in Akhakgwebeom. The method of the study is the literature analysis closely the occurrence, feature, and function of the Cheoyongmu by analyzing the costume process of transition of the eras was analyzed into the function and feature. The research was done by comparing and analyzing the difference of the costume in Akhakgwebeom. In term of difference, of the Cheoyongmu's costume of the paintings of Banquets and Akhakgwebeom had the shape and colour. In headgear, Samo(: 紗帽) or Bokdu was worn and the flower decoration on the Samo and Ui(:衣)was different pattern. The Gilgyong(:吉慶) was not worn. Hye(: 鞋) and Hwa(:靴) was worn and the colour of Hwa was different.

• Journal of the Korean Home Economics Association
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• v.47 no.2
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• pp.15-26
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• 2009

The purpose of this study is to research development process of commedia dell'arte and Korean masque that have similar figure, grasp similarity and difference and find the meaning of masque and costume in both theatrical arts. Italian commedia dell'arte and Korean masque are performed by wearing standardized mask and costume depending on the role. As common points, first, the characters have unique names and possess unique features of character, costumes, masks and playing styles. Through the feature, the audiences can understand role of actor and the actors can devote themselves to their role by wearing masks and costumes. Second, although background plays an important role in commedia dell'arte, the role of costume is more important. Because masque speaks for poverties of general people indirectly, the costumes of general people were used as they are. As different point, first, most of Korean masks cover entire face, restricting speech of actor but masks of commedia dell'arte cover only upper part of face and expos mouth and chin of actor, enabling actors to express various emotions depending on the character. Second, priority is given to personality of actor and origin area and current silhouette, material and color that changed by century is reflected in the costume of commedia dell'arte but silhouette, material and color of the Age of Joseon Dynasty were adopted in Korean masque.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.93-106
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• 2008

Asia Folk Costumes are certainly different from the Western Costumes. This distinction is based upon the effect of environment, technology, and social structure, and especially, which was generated by religion, ideology, and philosophy. The ideas of fundamental ground of this eastern features are religions such as Buddhism, Taoism, and Confucianism. The religion of the East has determined the form of traditional costumes, affecting the costume up to now. This study aims at the investigation of the effect of religion on the formation of East Asia Traditional Costumes around Korea, China, and Japan and its figurative beauty. Study was carried out by chiefly referring to literatures. Eastern Aesthetics was formed by accepting aesthetic concepts, acquired from the idea of Three Religions. Especially, the ideas of non-duality(不二), emptiness(空), five aggregates(五蘊), mind control(心法), derived by Buddhism, and nature theory(自然論) and creationism(創造論) of Taoism, and abstinence theory(節制論) and decorum(禮法) and the principles of Yin and Yang(陰陽) of confucianism have had great effect on the aesthetics of costume. The figurative features of costume, affected by three religions are described by the factors; First, non structural feature, second, the beauty of abstinence and chastity of ample silhouette, third, the feature of natural color and achromatic color, fourth, the figurative feature of costume by the principles of Yin and Yang, and fifth, bright ornaments. The aesthetic values of the East Asia Costume are 'A Beauty of Vacancy', 'A Beauty of Concealment', 'A Beauty of Nature', and 'A Beauty of Symbolism'. As philosophy, culture, and ethnics itself, the religions of Asia have had effect on the overall culture, which is inclusive of social structure, as well as art and aesthetics, and have decided the style of costume.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.297-306
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• 1994

This study is concerned with a comparative linguistic analysis of the Mongolian costume terminologies. It was found that the Mongolian costume terminologies were related to the costume terminologies of English, Indian, Chinese, Arabic Uigur, Tibetan, Persian, Turkish, Hebrew, Assyrian. The influence of the Chinese costume terminologies was fond in the terminologies of the fabrics and the precious stones of the Mongolians. Also, the influence of the Indian costume terminologies were shown in the Mongolian costume terminologies. A characteristic feature in the Mogolian costume terminologies of the fabrics and the precious stones showed the elements of the foreign terminologies. This factor amy be due to the fact that originally the Mongolians ere the nomades.

• Journal of the Korean Society of Costume
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• v.55 no.5 s.95
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• pp.120-130
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• 2005

The main feature of Buddhist sculpture Is said to lay in how it can materialize the divineness. Therefore lots of people used to pay attention to whether its religious features draw people's reverence or not. However, the robe of Buddhist sculptures has not won its proper attention. The Buddhist robe Is usually considered as a mere measure to make Buddha's supernatural feature more vivid. However, contrary to our expectation, the robe is the very real one which can be found in people's lift. The Gandhara Buddhist sculpture robe does not have sleeves, but several sheet of clothes covered the sculpture. Moreover, we can find same features in monk's robe which appeared in the Gandhara art. I can therefore conclude that this robe is not confined to Buddha, but is very popular one in that time in Gandhara. This article would survey the main feature and its relevant things about Gandhara Buddhist sculpture's robe, especially its change process while it had been transmitted to China.

• Journal of the Korean Society of Costume
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• v.51 no.7
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• pp.93-109
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• 2001

Fashion photographs from leading monthly fashion magazines in 1960s and 1990s were analyzed here. The formative feature characteristics of domestic minimalism fashion were studied. The major conclusions of the study are as follows 1. The formative feature characteristics of minimalism were expressed as simplicity, minimum, repetition, and futurism. 2. The formative feature characteristics of domestic minimalism fashion were expressed as simplicity, minimum, repetition, and futurism in silhouette, shape, detail, trimming, materials, patterns and color. 3. Minimalism in art and domestic fashion were identified to have a relation in the characteristics of formative feature. In shape and color. simplicity and minimum showed analogy while repetition and futurism showed difference. 4. Simplicity and minimum were expressed in both domestic and foreign minimalism fashions, but repetition and futurism were less expressed in domestic fashion.

• Journal of the Korean Society of Costume
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• v.57 no.2 s.111
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• pp.86-99
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• 2007

In this study, the concept of play as an entertainment is redefined and applicable method of fashion design as a play are suggested by analyzing the feature of doll's costume design based on the play pattern. In literary study, the role of playing doll Is described and has been examined by the analysis of scholars' opinions. In positive study, the pattern and costume design of sample costume dolls are analyzed using 624 samples of the representative images collected from the literatures and real figures, and they are classified as collection dolls or fashion dolls in order to analyze the feature of fashion design in playing dolls. As a result of the analysis of doll's costumes based on its use, the costumers are divided into a real world costume which is similar to what human wear in daily life and a virtual costume which is used in the movie or play and the costumes only worn by the dolls. The examination of the type of costume worn by dolls, dress is principally dominant costume in collection doll, whereas in fashion doll, dress is still mainly worn but shirt blouse & pants, shirt blouse k skirt, jacket, coat, bathing suit. etc. are shown dispersedly as well. In the costume silhouette of dolls, collection doll uses mostly A line silhouette meanwhile fit and flare is mostly used in the fashion doll but other silhouettes are also relatively shown a lot. In the means of the color of the costume worn by dolls, collection doll is more similar to those in actual fashion design. On the contrary, the color of the costume that fashion doll is put on is more free and more various because the trendy rotors such as green, yellow, purple, etc are used.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.45-57
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• 2010

The costume in musical is an important visual factor that contributes to the level of stage completion by for the character and overall atmosphere of the whole play. Besides, as if it is has a fixed times in the drama, it has to produce to consider an opinion of producer to express the theme, atmosphere of a play and especially in the period adventure drama, to revive as it is historical dress, there is not creation at stage of today. This research is studied into the stage costume of the musical 'Jekyll and Hyde' an adapted to express image of good and evil in the one character. For this research, it researched costume of Victoria period in England, study character of main actor by analysis of the play in an original work, examine the stage costume of the musical 'Jekyll and Hyde' performed in the inside and outside of the country. In the musical stage costume, by character difficult of stage costume, factor of design feature divided to good and evil and compare feature design of stage costume, research new design express method to consider musical acting, moreover through designing and producing the costume to be suitable for the content of the work. This research consists of research and actual production of work, study of documentary records, collection and analysis of overseas performances, news releases, video material and internet research were the methods of this study.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• autumn
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• pp.23-24
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• 2004