• 복식
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• 제60권1호
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• pp.135-144
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• 2010

This study is on the reproduction of King Sejong's costume presented in at the National Classical Music Institute in the late of 2008. The performance was presented focusing on the idea of ceremonial music of hoi-ryeyeon produced in the reign of king(1433). The reproduction of King Sejong's costume was undertaken to keep pace with the times and to pay due regard to the performance costume. The implications of the study are as follows. King Sejong's Hoi-ryeyeon ceremonial costume is a royal robe(gonryongpo), the best one of king's clothing. The basic type of gonryongpo is that of fastening four yongbos to danryoung. The type of gonryongpo is, therefore, made with reference to unearthed articles and portrait of the first king of the Yi dynasty. The yongbo is larger one than the late period of the Yi dynasty in the light of portrait of the first king of the Yi dynasty. The supporting type of gonryongpo is that of gonryongpo, dapho, and chulrik, king's dress granted by Myeong dynasty. In the late period jikryeong was used as supporting dress and fixed to be lining and included jikryeong. Therefore the order of supporting dress was jikryeong, dapho and chulrik and was reproduced with reference to unearthed articles in the early Yi dynasty, as did the small piece of crown, belt and shoes.

• 한국의류학회지
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• 제44권3호
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• pp.441-451
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• 2020

This study examined the characteristics of the royal progress and regulations on costumes in the king's excursion by a royal carriage and then investigates King Gojong's costumes in "Dongga Painting of the Korean Empire". To examine the regulations on costumes in the king's excursion by a royal carriage, there are unique costumes, 'Ikseongwan and Gangsapo' for the great memorial service for ancestors during the Korean Empire period. 'Ikseongwan and Gangsapo' are not provided in the code during the Joseon Dynasty period. Thus, it was not provided in the regulations, in the actual execution of the ritual, the king put on 'Ikseongwan and Gangsapo,' so entering the Korean Empire period, it was legislated as 'Ikseon-gwanbok' in Daehan-yejeon. There is a scene in the "Dongga Painting of the Korean Empire" in which the king pays a visit on Yeon, holding 'Gyu' in 'Ikseongwan and Gonryongpo'. However, holding 'Gyu' on Yeon in 'Ikseongwan and Gonryongpo' can be seen in King Gojong's royal procession to hold Jongmyo Chunhyangdaeje in the year of Gabo (1894). This study showed that there was a compromise for the ritual despite not being regulated by law.

• 한국의류학회지
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• 제4권1_2호
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• pp.35-42
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• 1980

Gan Tack is meetings for marriage in Royal Families only. There are three selection courses before the final decision of one person, and it done with a view to finding the best person in the country. On the history of costume, it was greatly changed in Yungjo's period. In this thesis, I studied the costumes of king Yungjo, Jungsungwanghu who is the consort of Yungjo, Inwonwanghu who is the consort of the late king, Sunhigung who is a seraglio of Yungjo, Ongjus who are King's daughters by seraglios, Sanggungs who are court ladies, Yumo who is a wet nurse, and etc., for Gan Tack with Hyaegyunggung-Hong who is chosen the consort of Prince, and research the Dresses, which are Jugori, Chima, Dangui, Gonryongpo, and Wonsam. The girls who attend Gan Tack dress up Jugori whose color is yellow, Chima whose color is red, and Dangui whose color is green. King wears in Gonryongpo, the Consorts in Wonsam, and the court ladies and Ongjus in Dangui, of course, there are differences of the colors and ornaments on the ranks. Finally, I hope this thesis will be of great help to the costume of historical dramas.

• 복식
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• 제31권
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• pp.47-60
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• 1997

As we analyzed the formalities of court dress during King Soonjo's rule through the characters depicted in $\boxDr$Wangseja Chulgungdo$\boxUl$(The Painting for a Crown Prince's Outgoing for Schooling to Sungkyunkwan) the results were as follows: People wore their appropriate full dress ac-cording to the ceremonial procedures. In the case of a Crown Prince normally the wore Gongjungchaek(a hat) (after the coming-of-age ceremony Iksunkwan) and Gonryongpo(imperial clothes) to show his status as a Crown Prince. He wore chugkumbok(a Coat) to indicate a Crown Prince as being a student. on an occasion of celebration a Crown Prince wore Wonyugwan and Gangsapo to provide him with prestige and as a sign of respect for the occasion. The teacher of a Crown Prince also wore Gongbok and Sangbok accoding to the dress requirements of the ceremonies. We can confirm that the Gongbok system of all government officials had been main-tained in the late Chosun dynasty. We know that the form of ceremonies be-came simplified in the late Chosun dynasty. it was recorded that students had to wear Chungkumbok. but we knew from the painting that students actually wore Dopo(a traditonal korean coat). We knew through this painting that the court dress rules of the late Chosun dynasty varied that previously known. As we concluded above research on the his-tory of costume by analyzing paintings both supplements our knowledge of the topic and confirms the deficiency in the study of the his-tory of costume based solely upon literature and books.