• International Journal of Human Ecology
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• 제7권1호
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• pp.67-76
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• 2006

This study delves into the Gache Prohibition Order during the Chosun Dynasty and researches the changes of the Gagye style caused by Gache Prohibition Order comparing both the pre-prohibition order and post-prohibition order and analyzing its related remains, old documents, and other researches about the Gache Prohibition order. The Gache Prohibition order during the Chosun Dynasty had contributed to the changes of the Gagye styles such as Sseu-gye, Hwan-gye, and Eoneun hair styles. Dae-su and Eo-yu-mi Gache in Sseu-gye style had been rarely used while Hwa-gwan and Jok-du-ri were often used in the Sseu-gye style. In the Hwan-gye style, Hwan-gye of Geo-du-mi was replaced with wood. Form and bulk in Eoneun hair had been minimized and changed into new types of The Gache Prohibition order of the Chosun Dynasty had affected the Gagye style in the following ways: First, in the aspect of style, the Gagye style was used to decrease volume. Second, the Practical science of the Chosun Dynasty had affected clothing in terms of actuality, convenience, simplicity, and openness. Third, the Gache Prohibition Order affected the Gagye style as well as the re-understanding of the beauty of clothing.

• Human Ecology Research
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• 제57권3호
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• pp.395-406
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• 2019

This study examined what meaning East Asian women showed in their costume history through a discourse of hair adornments such as wigs and that Gache was not just a luxury decoration. In addition, we examined Gache hair trends with Eonjeun-meori (braid wraps around the entire head) in the Joseon dynasty (Korea), Gigye(旗?) hair in the Quing dynasty (China) and Mage(?) hair in the Edo period (Japan) during the $18^{th}$ and $19^{th}$ centuries. The significance of the phenomenon of East Asian Gache culture in the $18^{th}$ and $19^{th}$ centuries was analyzed from the internal desires of women. The details are as follows. First, the magnification by the hair decoration was identified with self-authority and used as a sign to express self-respect or a desire for self-esteem. The extended Gache was an external body extension to raise self-authority and increase activeness. Second, self-satisfaction through showing off was associated with a women's search for identity. There was excessive consumption to boast status, wealth and femininity, but the mania continued because women obtained psychological satisfaction by feeling that their sacrifices for the Confucian order were compensated. Third, the frenzy of Gache was accepted as a way for women to resist social regulations and find themselves as main participants in social activities. Showing their appearance in East Asian Gache culture was a way of inner self-searching and a process for women to find themselves as a social entity.

• 패션비즈니스
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• 제13권1호
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• pp.67-81
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• 2009

The culture of each era make their own art, and it is certain a sense of beauty is changed according to a flow of era. We can find an unique beauty in the traditional culture of one era. And it is formed by the local and climatically influences according to their own ethnic character. Furthermore, an unique beauty is became an important element in forming the culture. That is, it is the universality in general. What is important is to develop of one's tradition on the background of the past for the future. This study is focused on the personal ornaments of women's Gache among the Cyubang culture in Chosun era. Throughout the study of clothing design that applies various decorative elements like an ornamental hairpin, a chignon ornament, and ttoljam among the women's Gache, this study is proposed to internationalize of clothing design utilizing the Korean specific character. The concepts of this study are as follows : First, grasp a definition and notion about Gyubang Culture of Chosun Era. Second, consider the definition of ornamental culture and the specific characters and kinds of women's ornaments. Third, analyze the trend and examples in the modern fashion applying women's ornaments. The method of this study included national science and literature, fashion magazines, newspapers, internet, and the research of like materials, with the intent to set a foundation for understanding ornamental design. Throughout these backgrounds, I try to develop and make six modern clothing design that applies women's Gache.

• 한국가정과학회지
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• 제5권2호
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• pp.101-118
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• 2002

This study focuses on the ideas that Chok-Du-Ri(족두리)ㆍHwa-Gwan(화관) are mentioned a substitute preventing abuses of luxury mood by Gache(가채) as the sharpest social problem at that time. First, the origin of Chok-Du-Ri(족두리) was introduced from Ko-Ko-Gwan(고고관) of Mongo(몽고) in Korea dynasty, then was linked to Chosun. That is, Ko-Ko(고고) started from headgear reflecting spiritual view of the northen people, its size was getting smaller passing through Ming(명) dynasty, its essential decoration changed and it carried out Jeon-Ja(전자) remaining decoration nature by real accessories, then it might be descended to Chosun. Second, Hwa-Gwan(화관) is very different from Nanaec(난액) of Chosun Dynasty Records, rather Jeonia, the original form of Chok-Du-Ri, is more similar to it. Third, its decoration like color, jewel, pattern etc influenced wishes of this life like sex, prosperity, glory, longevity, blessing, wealth and fame. Fourth, Chok-Du-Ri(족두리) was restored a substitute for Gache(가채), it was accessory for preventing luxury life, besides it was modeled from headgear in China, Chosun people had it. It is worthwhile as it was based on Chosun Sinocentrism(조선중화주의) in the latter period of Chosun and made it the fruit of that age. Moreover, in those days Qing(청) society accepted the advanced culture and institutional profit of Qing(청) actually, social mood is that home and overseas policy was corrected in many parts, Chok-Du-RiㆍHwa-Gwan were mentioned a substitute of Gache, symbol of luxury. It shows one part of Practical Thougth that abolishes vanity and affectation and makes useful profits in the latter period of Chosun.

• 한국산학기술학회논문지
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• 제12권1호
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• pp.80-90
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• 2011

본 논문은 영조와 정조가 통치한 시기에 해당하는 시기인 조선후기 풍속화에 표현된 여성머리양식을 고찰하여 조선후기 성인여성머리양식의 특성을 분석한 논문으로서 연구의 목적은 조선후기 여성머리양식의 특성과 당시 여성들의 미의식을 규명하여 최근 유행하고 있는 사극드라마나 영화 등의 영상예술분야에서 활용될 수 있도록 하는데 있다. 조선시대 성인여성의 대표적인 머리는 얹은머리와 쪽머리로 그 중 얹은머리가 더욱 유행하였다. 신분에 관계없이 많은 여성들은 얹은머리의 규모를 크게하기 위해 가체를 사용하였으며 개인의 개성에 따라 머리양식을 다르게 하여 각기 다른 조형미를 연출했다. 조선시대는 신분에 따른 복색제도가 엄격하였으나 기녀들은 제약을 받지 않았으므로 복색에 자유로워 유행을 선도하였으며, 조선후기에는 실학의 영향으로 이미 신분이나 사상등의 제약으로부터 자유로워진 반가나 민서계급의 모든 여성들이 기녀들의 차림을 모방하여 유행과 동조하는 현상을 보였다. 조선후기 여성들은 자신의 개성을 표출하기 위해 머리양식을 유행의 도구로 사용하였으며 많은 여성들이 현대와 같이 유행을 추구하였다. 또한 당시 여성들도 얼굴과 가장 가까운 머리를 아름답게 꾸며 자신의 미를 강조할 정도로 미의식의 수준이 상당히 높았다.

• 한국정보과학회논문지:데이타베이스
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• 제31권5호
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• pp.457-467
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• 2004

데이타 캐쉬를 관리하는 알고리즘의 효율성은 클라이언트에 데이타 캐쉬가 있는 시스템의 성능에 매우 큰 영향을 미친다. 클라이언트에 데이타 캐쉬가 있는 시스템에서는 서버에 추가 스페이스 부담없이 한 데이타에 대해서 두 개의 버전을 유지 관리할 수 있다. 그 이유는 하나의 데이타가 동시에 서버의 버퍼와 클라이언트의 캐쉬에 저장될 수 있기 때문이다. 본 논문에서는 버전 기법을 활용하는 캐쉬 일관성 알고리즘인 Two Versions-Callback Locking(2V-CBL)을 제안하고, 실험을 통해서 2V-CBL라 기존에 가장 높은 성능을 보였던 Asynchronous Avoidance-based Cache Consistency(AACC)의 성능을 비교하였다. 실험 결과에 의하면 2V-CBL은 최소한 AACC와 같은 성능을 보이며 일부의 트랜잭션이 데이타를 수정하지 않고 읽기만 하는 경우에는 AACC 보다 훨씬 높은 성능을 보인다.

• 한국의상디자인학회지
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• 제8권2호
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• pp.73-83
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• 2006

This study aims to focus on clothing design's practical uses of the superior esthetic elements that can be found among the East's representations, in particular the characteristic Korean elements found in the latter part of the Chosun Era's women's Gauche and decorative personal ornamentation's moulded features. This has been the foundation for the creation of all eight pieces, and the conclusion is as follows: First of all, the Chosun Dynasty women's Gauche and ornamentation are in close relation to the general flow of society at the time. Gauche and personal ornamentation was not just a matter of beauty consciousness, but is permeated with then-mainstream society's culture, the results of an attempt to display a Korean appearance. Secondly, the desirability of the Chosun women's hair was expressed through Gauche, and through the exceptional brilliance of a diversity of embroidered color tones, braided as though creating Dare. Using this technique in clothing, a new image was created. Thirdly, the outstanding beauty of personal ornamentation's mouldings was used while creating new clothing compositions. The beauty felt through the Chosun women's personal ornamentation can also be felt through today's clothing. More than merely practical, this beauty also brings one closer to Korea and Korean past.

• 복식
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• 제60권8호
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• pp.86-99
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• 2010

This study considered the characteristics and use of the jokduri during the 18th century, which was shown in Ijae-nan-go written by Yoon-Seok Hwang. In Ijae-nan-go, not only the origin of the jokduri, but also its colors, materials, sizes, and construction methods are recorded, in detail. The Jokdori is assumed to have been influenced by costumes of China. The 18th century jokduri is mainly made up of black satin, and is composed of eight pieces of cloth. This looks similar to a contemporary jokduri, but the 18th century jokduri is bigger. At court during the 18th century, women decorated their hair styles higher by using the jokduri. Not only did the jokduri fix the topknot at the top of a woman's hair by wrapping the topknot, but also it raised the height of the topknot. This is different from the generally known method of wearing jokduri. Therefore, this demonstrates that there have been changes in the role and use of the jokduri over time.

• 복식
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• 제57권6호
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• pp.172-183
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• 2007

The purpose of this study is to examine the dress and its ornaments of low-level officials shown in Tamna-Sullyeokdo, the paintings of the inspection tour of Jeju Island. The low-level officials Include low-level soldiers-sungjungun, gichigun, foot soldiers, cavalries, gunroe, ilsu, artillerymen, najang, and sawon-, musicians, servants, and kisaengs in government employ. 1. Different types of low-level soldiers tended to wear different kinds of clothes that is worn under an outer garment and to wear different coats and trousers depending on an outer garment. That is, sungjunggun, gichigun, foot soldiers, and cavalries were jeonbok over a jeogori and baji. On the other hand, gunroe, ilsu, artillerymen, and najang were houi or jakui over a jeogori and baji. However, Sawon simply were Jeonbok or armer or they wore Cheolik in formal occasions. 2. Musicians wore a jeonlib, a type of hat, decorated with an ear of barley and a red houi over a Jungchimak, a man's outer coat with large sleeves. Musicians wore colorful red clothes in order to add to the amusement during military trainings or banquets. 3. Servants in government employ had their hair in plaits and wore a jeonbok over a Jungchimak or baji and jeogori. However, when they dance during banquets, they were cheolik and jeonlib decored with/without an ear of barley or red flowers. 4. Gisaengs in government employ wore a gache on their head and wonsam, a woman's full dress during big occasions. They, on the other hand, wore a jeogoli and chima for regular occasions.

• 복식문화연구
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• 제8권6호
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• pp.915-929
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• 2000

As a result of research, the character of the general dress-costumes from the late 17th century to the early 18th century in Genre Paintings of DuSeo Yun and YoungSeok Cho is as follows. Firstly young women wore braided hair at the back of head and married women wore hair in the style of Unjeun-mori with Gache. The length of Jeogori (Korean traditional jacket) covered waistor shortened to waist length. The width of Jeongori was suitable, because side-seam line was straight or oblique as it comes into inner line. The width of Git was enough and Mokpan-git (shape of board) and Kal-kit (shape of knife) appeared, and sometimes used other color fabric. Sleeve was narrow and ostly folded up. Chima (Korean traditional skirt) used darker color fabric than Jeogori and the width of Chima was narrow and its length was short. Sokbaji (Korean traditional underpants) shown below were narrow and its end narrower. They were barefoot or they wore Hye (Korean traditional shoes) after putting on Beoseon (Korean traditional socks). Secondly general man's hair tie a topknot (sangtu) and put on headdres, 'Bang-lip', 'Mang-geon', hairband, 'Tang-geon' on head. The length of Jeogori became shorter from the line which covered hip to the line which covered waist. The width of Jeogori was suitable and sometimes it had a slit of side-seam line. The width of Git (neckand) was wide and the length of Git was long. 'Kal-git'appeared and it used other color fabric. The shape of sleeve was straight and narrow. They folded up their sleeves. They folded up their sleeves. They folded up their slack that look like 'Jam-bang-i'and the width of slacks was not suitable, and it was narrow. Baji (Korean traditional pants) were with or without knot, worn 'Hangjeon'(ankle band). They were barefoot and wore 'Hye'or 'Jipsin'(Korean traditional straw shoes). Thirdly a person of high birth or a low-ranked official put 'Yu-geon', 'Mang-geon', 'Gat', 'Tang-geon', 'Bok-du', 'Bok-geon', 'Whi-hang'on their head on a topknot. They wore 'Po (Shim-ui, Jick-ryeong'Jung-chi-mak, Do-po, etc)'on Baji and Jeogori. 'Po'was long and wide, it knot with 'Se-jo-dae'(string belt) or 'Po-baek-dae'(band belt). It had a slit of sideline and 'Mu'which had or had not or which were hard to confirm. The shape of sleeve was straight or very wide and its length was long. The width of Baji was wide and knotted with 'Hangjeon'and wore'Beoseon'and 'Hye'. Fourthly child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line and its width was wide. It had a 'Jeogori'which had s slit of sideline. The shape of sleeve was 'Tong-su'(straight), and the length of sleeve was diverse. They put 'Baeja'on 'Jeogori'. The width of Baji was not wide. They wore them straight without or with knot, 'Hangjeon'. They were barefoot or put on 'Jipsin'.