• 복식
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• 제63권2호
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• pp.29-44
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• 2013

This study is about the periodic characteristics of Wonsam in the Joseon Dynasty. Wonsam include the Danryeong-shaped Wonsam in the beginning, the compound Wonsam in a period of transition and the stereotyped Wonsam in the late Joseon Dynasty. The formative characteristics of Wonsam are divided into four stages. The first stage of the Wonsam is from the 15th to 16th century. The shape of Wonsam began to form and it was similar to one of Danryeong during this time. The formative characteristics of the first Wonsam included collars that looked like one of Danryeong, side pleats(called Moo) with multiple inner folds, straight cylinder-shaped sleeves, and a belt tied with the Wonsam. There were various fabrics that were used for the Wonsam from this stage. Second stage of the Wonsam is from the early 17th to mid 17th century. This period marked the beginning of the transition of the Wonsam and it served as a stepping-stone to the development stage in the Joseon Dynasty. The characteristics of the transitional Wonsam were a complex combination of the Danryeong and Wonsam. During this period, the Wonsam went through many changes and forms in a short period of time. Third stage of the Wonsam is from the mid 17th to early 19th century. The Wonsam was developed at this stage. The developed Wonsam went through a period of transition equipped with a stable form. The formative characteristics of Wonsam during this period included collars that faced each other, big and wide sleeves with multicolored stripes, Hansam, curve-edged side seam and the side pleats(Moo) with multiple inner folds had disappeared. It was a turning point from the single-layered clothes to double layered clothes and from dark blue to green color appeared at this time. The fabric patterns of this stage tended to consist of more simplified silk pattern. The fourth stage of the Wonsam is from the late 19th to 20th century. The Wonsam was expanded at this stage. The formative characteristics and fabrics were typically used for the standard Wonsam and were divided into two types; as a ceremonial robe used in courts and a wedding ceremonial robe for the common people. Phenomena such as sewing of double-layered clothes as one and straight-edged side seam during the late Joseon period developed into simpler and more practical fashion culture.

• 한국지역지리학회지
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• 제11권3호
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• pp.410-423
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• 2005

본 연구의 목적은 우리나라 남해안 지역의 관광개발 잠재력을 고찰하고, 이를 바탕으로 효율적인 관광개발의 전략을 제시하는 것이다. 한국의 남해안은 온화한 기후조건, 수려한 해상경관, 독특한 도서문화 등을 보유하여 다양한 관광활동에 최적의 여건을 제공하고 있고, 한중일을 연결하는 해상관광항로의 결절적 위치성도 가지고 있다. 그럼에도 불구하고 남해안은 내륙의 국립공원과 제주도 및 강원도 중심의 관광개발정책 등에 의해 효율적인 관광개발이 추진되지 못했다. 그러나 동북아 정제권에서 관광수요의 증가, 해양관광 선호하는 관광객의 급증, 남해안지역에 대한 접근성 개선, 수도권의 대안축으로 남해안에 대한 관심 증대 등으로 최근에는 남해안의 개발이 새롭게 주목을 받고 있다. 그러므로 남해안의 효율적인 관광개발을 위해서는 연안지역 개발을 규제하는 각종 제도의 완화, 남해안 관광을 위한 특별법의 제정, 동북아 해상관광루의 설정, 남해안 연안여객항로의 개설, 2012년 여수 세계박람회의 유치 등의 정책과제가 장단기적으로 시행되어야 할 것이다.

• 미술이론과 현장
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• 제3호
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• pp.51-66
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• 2005

With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and galleries but also by private galleries, alternative spaces and open-air exhibition spots are being increased. Likewise, the number of exhibitions organized on a large scale by Biennales and local governments is on the increase. In accordance with actual tendency, the Ministry of Culture and Tourism has planned to increase the number of museums and galleries up to 500 by the year of 2011. Under these circumstances, the actual situation shows that the central and local governments are adopting beneficial measures to support the private galleries such as permission of construction on green belt areas and tax deduction. That is, our society has come to realize that the necessity and importance of public as well as private galleries to play their roles as cultural and educational institution. Now, the number of galleries is growing. Exhibitions are held everywhere. Therefore, spectators have more chance to visit them than before. With these conditions and the growing number of amateurs, social interest in curator organizing exhibitions is getting popular. Because of the rise of curatorial popularity on the social level, the influence of curators which is exercised within the gallery seems to become gradually enlarged. In reality, it is true that the curatorial influence cannot be ignored more than ever for appear in various fields their new features made from their professional cometence. The function of gallery is more strengthened and its position is more heightened than those in 80s. For these reasons, the curators whose playground is the gallery, they may be regarded as invisible power to the artists. Futhermore, their influence as such seems to be more likely because our world of art does not still have any reliable system of art criticism. Nevertheless, considering the actual situation in which national and public galleries as cultural institution would rather exist on the local sentiments or political dynamics than on autonomy, there must be some restrictions for the galleries and the curators to obtain the power. In this context, the actual moment is looked upon as transitional period to make the curatorship settled down. Before discussing the power relevant to curatorship, we are going to examine first the role and function of curator and then the new curatorial role and function at the age of information. Finally, we will see in sequence the development and problems of curatorship, the power and dilemmas of curator.

• 복식
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• 제35권
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• 한국지역지리학회지
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• 제5권1호
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• pp.25-75
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• 1999

`역전(驛前) 상점가(商店街)'는 도시 내부에 있어서 자연적 혹은 유기적인 중심지의 계층구조에 의해서 결절된 중심지가 아니다. '기차역'이라고 하는 특수한 기능의 견인력에 의해서 그 부근에 형성된, 오히려 특수 상점가적인 특성을 나타내고 있다. 이 지역은 개항(開港) 이전에는 왜관(倭館)이 있었던 곳이며, 개항 후에는 왜관이 일본인 거류민지로 승격하게 된다. 또한 지금은 점차 쇠퇴하고 있긴 하지만 '차이나 타운'이라고 하여 중국인의 거주지가 이 지역의 서부지대에 아직까지 존속하고 있다. 이곳과 연속적으로 이루어진 지역에 '텍사스 타운'이 있어서 과거부터 주한미군(駐韓美軍)과 외국인 선원들을 고객으로 하는 환락가가 형성되어 있었다. 그러나 지금의 이곳은 '러시아 타운'으로 변하여 가로의 대부분의 간판은 러시아어로 되어 있다. 이 가로를 따라서 가면 러시아 사람들을 많이 만날 수 있다. 이 상점가와 인접하여 '초량시장'이 위치하고 있어서 과거부터 인근의 주택지를 serve하는 중심지로서의 역할을 하고 있었다. 그러다가 1969년 6월 10일에 새로운 역사(驛舍)가 준공되고 부산역이 현재의 위치로 이전해 오면서 과거의 기능에 기차역이 견인하는 기능이 부가하게 된다. 크게 보면, 이러한 두 가지의 속성이 현재 부산역 상점가의 특징으로 나타나고 있다. 따라서 역사(驛舍)가 있는 동부지대와 전통적으로 형성되어 왔던 서부지대는 그 토지이용과 구조면에서 않은 차이가 있다. 동부지대는 업무관리기능이 집적하고 있는 반면에 소매업 중에서도 상점가의 계층을 결정할 수 있는 중심성 상점은 전혀 입지하지 않고 있다. 이 지대는 대형의 고충건물이 많은 업무지구이다. 이것은 도심의 축소판으로서의 경향을 오히려 부도심보다도 더 강하게 나타내고 있다는 것이다. 이러한 특징을 가지고 있는 부산역 상점가에 대해서 그 기능구성과 분포를 중심으로 패턴을 밝히려고 한다. 이 연구는 부산시 전체의 내부공간 구조를 밝히려는 일련의 연구의 한 부분의 성격을 지니고 있다.

• 한국전통조경학회지
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• 제29권2호
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• pp.139-148
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• 2011

본 연구는 세계문화유산으로 지정된 조선왕릉의 관리를 담당한 관직인 능참봉직을 소재로 하여 "경국대전(經國大典)", "속대전(續大典)", "대전회통(大典會通)", "조선왕조실록(朝鮮王朝實錄)", 각종 의궤(儀軌), 능지(陵誌), "일성록", 능참봉 일기 등 관련 고문헌의 내용분석을 중심으로 능참봉의 조경가적 역할을 규명하는 기초연구로 수행되었으며, 요약된 연구결과는 다음과 같다. 첫째, 능참봉(陵參奉)은 종9품 참봉 2인으로 구성되고 능참봉직은 생원 진사 혹은 유학중에 삼망(三望)을 거쳐 임명이 되는 음직(蔭職)으로 임용기준은 '연소하지 않고 경륜이 있는 자'를 선발하였으며, 왕릉수호의 상징성으로 인해 관직진출의 수단이 되었다. 둘째, 능참봉의 업무체계는 품계서열을 따랐으나 지리상의 여건 등으로 봉심과 능의 공사감독 등 실제보다 많은 권한과 다양한 직무를 수행하였으며, 능수호군 관리 및 능지작성 등 조선왕릉 관리에 중요한 역할을 수행하였다. 셋째, 능참봉의 조경관련 직무 중 봉심은 능상의 석물이나 사초, 정자각 등을 정기적으로 예찰하여 예조에 보고하는 것이며, 경국대전과 속대전에 봉심의 체계와 방법 등이 자세히 규정되어 있었다. 넷째, 능참봉의 조경관련 직무 중 수목관리 및 능역공사 감독은 조경식물에 대한 기본적 이해와 관리능력과 건축 토목을 망라한 공간에 대한 다양한 식견이 요구되는 직무로 조선왕릉의 현장관리 실무자로써 지방관과의 수직적인 관계의 유동성 확보와 산림부산물 처리에서 암묵적 권한과 관리 책임이 부여되었으며, 오늘날 조경가의 직무성향과 관련성이 깊다. 능참봉의 조선시대 조경관련 직무에 대해 좀 더 폭넓은 문헌 발굴 및 고증으로 조선시대 능참봉의 조선왕릉 조경관리자로서의 역할과 능참봉과 조선왕릉의 조경사적 가치 규명을 위한 후속 연구가 요구된다.

• 벤처창업연구
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• 제16권3호
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• pp.13-29
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• 2021

이 연구는 서울시 세대별(청년층, 중년층) 창업의 공간적 분포와 영향 요인을 분석하는데 목적이 있었다. 이를 위해 창업가의 연령대 자료를 포함하고 있는 서울시 사업체조사(2018) 데이터를 활용하여 서울시 424개 행정동의 세대별 창업 분포를 분석했으며, 산업, 인구구조 및 창업지원 기관 관련 변인이 포함된 연구모형을 설정하여 세대별 창업의 영향 요인을 분석하였다. 분석 방법은 서울시 행정동의 세대별 창업과 주요 변인들의 빈도, 평균 및 표준편차를 확인하기 위해 기술통계를 활용했으며, 전역적, 국지적 공간자기상관 분석을 통해 세대별 창업의 공간적 분포를 분석하였다. 특히 세대별 전체 창업과 주요 산업별 창업을 구분하여 분석함으로써 서울시 창업의 공간 분포를 심층적으로 확인하였다. 이후 라그랑주 검정을 통해 공간회귀분석 모형을 선택하였으며, 이를 바탕으로 세대별 창업에 미치는 지역적 영향 요인을 분석하였다. 연구결과를 통해 도출한 주요 결과는 다음과 같다. 첫째, 청년층과 중년층 창업의 공간적 분포에 유의미한 차이가 있었다. 청년층은 서초·강남-용산-마포-강서구로 이어지는 벨트 지역에서 창업이 활발하게 이루어졌지만, 중년층은 서초·강남·송파·강동으로 대표되는 동남권 지역의 창업이 활발한 편이었다. 둘째, 서울시 세대별 창업은 업종에 따라 다양한 공간적 분포를 보였다. 지식첨단산업(정보통신, 전문서비스)은 세대 공통적으로 서초, 강남, 마포, 구로, 금천구가 중심지역이었으며, 제조업은 기존 집적지를 중심으로 창업이 집중되어 있었다. 반면 생활서비스업의 경우 청년층은 용산, 마포, 관악 등 대학과 문화 중심지역에서 창업이 활발했으며, 중년층은 신시가지 중심으로 창업이 집중되었다. 셋째, 서울시의 세대별 창업 입지에 대한 영향 요인에 차이가 있었다. 청년층은 첨단산업, 대학, 문화자본 및 인구 밀집이 창업에 유의미한 영향 요인이었으며, 중년층은 전문서비스 특화도, 낮은 평균연령, 창업지원 기관 밀집 수준이 창업에 유의미한 영향을 미쳤다. 또한 이러한 입지요인은 산업별로 차별적인 영향이 있었다. 연구를 통해 제시한 제언은 다음과 같다. 첫째, 서울시 지역, 산업 및 세대별 특성을 고려한 체계적인 창업지원이 필요하다. 세대별 창업 지역과 산업에 상당한 차이가 있는 만큼 지역 및 산업적 특성을 고려한 맞춤형 창업지원 체계를 강화할 필요가 있다. 둘째, 연구 방법적 측면에서 데이터 축적을 통해 자치구 단위에서 문화, 재정 등을 종합적으로 고려한 후속 연구가 필요하다.

• 복식
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• 제4권
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.