• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.71-80
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• 2012

The Kut is the core of the traditional folk religion. The afterlife wedding Kut actually performs a traditional wedding ceremony by personifying the deceased in the process of performing the composition of Kut geori that cannot be observed from other Kuts, which is an important means to convey the situation of Kut more clearly. A traditional wedding ceremony performed in the Kut enables the audience to understand the meaning behind the Kut. The costume worn in the traditional wedding ceremony of the afterlife wedding Kut makes the audience understand the existence of the deceased by the use of a scarecrow dialect and makes them feel a vivid sense of the scene emitting from the Kut, which performs a traditional wedding ceremony in the composition of Kut geori. The results of this study showed that a shaman who led the afterlife wedding Kut had a scarecrow that symbolized the bride and a bridegroom wear the traditional wedding costume in order to visualize the deceased and express the symbol of a wedding which could not be made in this world. It can be interpreted that the traditional costume derived from the afterlife wedding Kut plays a symbolic role, which converts the deceased into a living person through the formal aspect of ceremonial costume and the cultural aspect of wedding ceremony.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.69-87
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• 2002

The Eastern Slavic. the mongolian and the Korean wedding ceremony proceed through those three stages :pre-wedding, and after-wedding. (n the pre-wedding stage, the marriage is arranged when the parents make a decision on a matchmaking proposal. In the main wedding, the bridegroom visits the bride, and the bride walks through the many different procedures, which represent the life and the responsibilities of married women. Expecially, the wedding ceremony is finished and culminated by making hairstyle and wearing of headgear for married woman to the bride. The wedding costume of the Eastern Slav, the Mongolian, and the Korean has been developed with their different characters of styling. The traditional costumes of the each native are worn with the addition of a splendid decorative expression. The Eastern Slavic bride wears Lubaha and Sarapan or a skirt and bridegroom's wedding costume consist with Lubaha and Shitany(trousers). The Mongolian bride wears Deel and Ozh(Ooj) the vest and bridegroom wears Deel and Hantaaz. The Eastern slavic, the mongolian and the Korean bride wears various and gorgous headgears which have reflected cultural values: their traditional views of a wedding ceremony, expected change of social roles for married people. The wedding ceremony of these 3 natives had been performed by the symbolic meaning of the union of the bride to the bridegroom's family.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.23-32
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• 2012

Korean traditional wedding ceremony was conducted with some regular procedure and there were used some Gyubang crafts for wedding ceremony. But perhaps there has not been systematic information about them. Nowadays there is common the western style wedding ceremony instead of traditional style in Korea. So the decrease in the use of them have being appeared. Purposes of this study are to organize the resources about them systematically data of Gyubang crafts used traditional wedding ceremony, and to investigate characteristics of them for propose some idea of application them in the life of today. The results are as follows : Gyubang crafts used traditional wedding ceremony can be separated roughly into four types in use : wrapping clothes, cloth bags, ornaments and items related to sewing. They were apt to be traditionality, symbolic meaning and shamanism, and were superior in aesthetic sense, the effect of decoration and technical skill than other Gyubang crafts. There'll be some follow-up studies on ideas for preserving and appling in modern life.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.139-151
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• 2014

Storytelling contributes to easy flowing of cultural contents, and cultural original materials offer the creative subjects of cultural content. Now, in Korea, thanks to the Korean wave and etc, new kinds of cultural contents are requested and the demand for the original materials of storytelling has been increasing.A 5,000-year-old history, Korean traditional culture is the storage of the original materials of storytelling that can offer the creativity and the competitiveness, which are able to secure the national competitiveness. Particularly, there are different kinds of cultural archetype materials in the wedding ceremony and wedding costumes. This research, thus, is aimed at providing the subject materials for the cultural content development which are various and interesting by developing the original materials of storytelling on the wedding ceremony and wedding costumes during the Joseon dynasty. In the study for the wedding procedures in the late of Joseon Dynasty, the original sources within wedding ceremony created in the process where wedding customs in Joseon Dynasty and China were compromised are suggested. Further, in the research for the original sources on the wedding costumes associated the wedding ceremony, the original source of storytelling which are showed in a nation and an individual in the process where the wedding ceremony symbolizes the most important marriage one of the fomalities performed in one's life is suggested.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.2
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• pp.360-378
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• 2018

Noeui was a garment used for women's outfits and robes. In the late Joseon Dynasty it was a special garment that could only be worn by the class belonging to the royal family. Noeui was especially prepared as a wedding dress, and was worn by the bride at the Chinyeong ceremony on the day of the wedding ceremony. Until now, Noeui did not have in depth research at the costume history despite its importance as a royal costume in the Joseon Dynasty. Thus, based on Uigwe for the Royal Wedding Ceremony of King Injo and Queen Jangryeol (which is the only material with a diagram of Noeui and its pattern) this study historically investigated and restored the Noeui set of Queen Jangryeol, which was arranged in 1638, when King Injo and Queen Jangryeol were married. This academic study is the first to historically confirm and restore Queen Noeui's set, and rigorously analyze the historical materials as well as provide new comments on the shapes of Noeui's Git and the front side.

• Journal of the Korean Society of Costume
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• v.49
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• pp.137-154
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• 1999

This study was designed to unify two types -traditional and western- of wedding dress in one and to develop new wedding dress which can be used to wedding ceremony as well as Pae-Bae(Greeting) as an alternative for the modernistic utilization of traditional wedding dress. The wedding dress for a bride and bridegroom was developed to be used not only for wedding ceremony but also for engagement. The children's dress which can be worn for carrying flowers in front of a bride and a bridegroom was also developed. All six dresses two of each for a bride and a bridegroom one of each for a body and a girl were developed from the review of literature and photos to be introduced traditional wedding dress. The results were as follows: 1. The Korean characteristics in the developed dress were expressed well in the curves straight lines oblique lines and cracks. 2. The traditional symbolic meanings were expressed by using the pattern which was on traditional wedding dress. Changes from five original colors -red, blue, yellow, white, black- to pastel colors also could modernize the dress. 3. The Korean characteristics could be effectively expressed in dying techniques and piling -up by using hand-made silk and No-Bang, 4. The children's dress for a ceremony was re-established to modernized design with traditional beauty. 5. The expenses could be saved practically because the dress was developed for wedding ceremony as well as for engagement.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.129-144
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• 2002

Kyung(경, 경의), Which is Wedding ceremonial head dress, Veil. Ancient China, When dynasty is changing, wedding head dress form is different. Old china, Kyung(경) was sleeves attached dress form. But, after Dang(당) and Song(송) Dynasty changed square formed clothes, which is put on from head to the shoulder, and another is sleeves attached dress form. Ancient Korea have been face covered clothes. Myunuei(면의). from Buyo(부여) to the south Silla(남국신라) Dynasty. Koryo(고려) dynasty. likeness of the Song Dynasty square formed head wear, Mongsu(몽수), and Kedu(개두). When Chosun(조선) Dynasty, Kyunguei(경의), which was square formed 12 chuk size head wear of the blue colored veil. When King and Queen finished wedding ceremony in the another palace, Queen following the King, so to the palace. who put on the wedding veil, Kyungui(경의) , in the papanquin. and take out of the veil by another mother. before the hapkun(합근) ceremony. also Chosun dynasty has been another Queen's wedding ceremonial veil 'myunui (면의)'. It has been put on the head dress with ceremonial dress Juckui(적의) . And, take out of the veil by another mother, before the hapkun(합근) ceremony. also. common people has been put on the head dress with ceremonial dress Youmui(염의). And. take out of the veil by another mother. before the hapkun(합근) ceremony. also common people has been put on the Mongsuui(몽수의,장의). head dress with ceremonial dress round neck dress. And, take out of the veil by another mother, before the hapkun(합근) ceremony.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.113-121
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• 2016

The purpose of this study is to analyze the types and characteristics of wedding ceremony robes in the Jeju area from the 1950's to the 1980's. The analysis used 413 wedding pictures. The results of the study are as follows: 1. The following are the propotion of robe types used wedding ceremonies. 1.0% of Danryeong & Jangot, 6.5% of Danryeong & Wonsam, 1.5% of Danryeong & Chima+Jegori, 2.7% of Durumaki & Chima+Jegori, 24.7% of suit & Chima+Jegori and 63.7% of suit & wedding dress from the 1950's to the 1980's. 2. The Korean-style robes gradually decreased from the 1950's, and disappeared in the 1970's. The Chima+Jegori was introduced in the 1950's, reached its peak in the 1960's and its popularity continued to the 1970's. In the 1980's, after the Korean-style robes disappeared, the western ceremony robes were used in all the ceremonies. 3. After the Western-style robes, in which a bride wears a wedding dress, was introduced in the 1960's, its usage rapidly increased in the 1970's and is still popular today.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.162-179
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• 2016

This study examined the 17th century wedding ceremonies of princes and princesses recorded in the "Garyedeungrok(嘉禮謄錄)". The Joseon dynasty royal weddings were held outside the palace, so it could have influenced wedding ceremonies of commoners. Royal weddings for princes and princesses were considered to be on a level between that of a king and commoners. Wedding procedure of princes and princesses was carried out under the leadership of the royal family who officiated at a marriage with the king's approval. In addition, kindred of the king and high-ranking officials participated as the maid of honor in the wedding parade. This was completely different between the royal wedding and the scholar-gentry ones. A difference between the prince and the princess was that the princess paid her respect to the shrine of the house of her groom after the wedding ceremony. However, there was no process for the prince's bride. There also existed a wide disparity in the wedding goods of princes and princesses. The prince and the king's son-in-law both held a wedding ceremony to wear Chopo, but there was a difference in decoration or quantity of Danlyeong(團領) Cheollik(帖裏) Hoseul(護膝) belts. Only princes were allowed to use the ornamental knife and the embroidered pouch. While both the princess and prince's wife wore No-ui(露衣) and Jangsam(長衫) as the wedding clothes, there was discrimination of position in terms of hair decoration, Hwalhansam(闊汗衫), skirt, Hosu(胡袖) and Ni-ui(裏衣). There was also a difference of quantity of Jeogori and skirts, as well as various styles of gold decorations in order to distinguish the Gongju(daughter of the king) and the Gunju (daughter of the crown prince)'s position.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.11-28
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• 2014

Chinyoung(親迎) is one of the detailed procedures of a wedding ceremony, of which the bridegroom visits the bride's home to receive and bring her to his home. And, Procession Illustration (班次圖) is a type of drawing that shows how people of various social classes are arranged in their predetermined positions in a royal ceremony. Thus, 'Chinyoung Procession Illustration(親迎班次圖)' refers to the drawing of the march in the course of Joseon's royal wedding ceremony, in which the bridegroom receives and brings the bride to his home. This paper aims to reconstruct the Chinyoung Procession Illustration for a princess as an image, which has never been done. There are no drawings or pictures of the princesses' Chinyoung Procession, but only written records. Thus, we completed the Procession Illustration by dressing the participants in accordance with their social classes and arranging them in the march. The arrangements were based on historical records of social classes, positions, number, and costumes. As for the princesses' weddings in the late Joseon period, a total of 18 wedding records remain. We selected Princess Bok-On's (福溫公主: 1818~1832) wedding as the subject of reconstruction as it had the greatest number of participants. In addition, due to the great number of participants, this study limits its focus to the female participants, with the male participants to be examined in future research. The result confirmed that the number of participants in Princess Bok-On's Chinyoung Procession was 184, including the bride and bridegroom, and the number of female participants was 26 in total, including the princess and women placed around her. The women participants wore Rip(笠), Neoul(羅兀), Jeonmo(氈帽), Garima(加里磨), Noeui(露衣), Hwaleui(豁衣), Dangeui(唐衣), Jeogori(赤古里), Chima(赤亇), Malgun(袜裙), Daedae(大帶), Onhye(溫鞋), Dokhye(禿鞋).