• Journal of the Korean Society of Costume
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• v.15
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• pp.63-76
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• 1990

The purpose of this paper is to de31 with the sorts, significances and characteristics of the devices embroiderered on the ritual dreses(hwarot), skirts and embroidered-cushions among the relics of Princess Bok-On(A.D. $1818{\sim}1834$), the second daughter of King Soon-Jo(A.D. $1790{\sim}1834$) in the Yi Dynasty. Her ritual dresses(hwarot)adopt the devices of Buddhism style, Taoism one, Chinese one and Korean one together in mixture, and have no letter-devices in embroidering treasure-devices. Her skirts have the ornament signifying the Orientalism, and express the spiritual world symbolically and artistically. Her embroidered-cushions make harmonization of Confucianism and Buddhism on the splendid base-cloth, and create a unique art style of Korea.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.142-160
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• 2023

The position of the people who participated in the Bapyo Ritual held in the reign of King Sejong and the corresponding costumes were examined. The king, who was the executive body of the ritual, wore Myeon-Bok, a court dress, and Myeon-Bok was Gujang-Bok made of Jang-wha on Guryu-Pyeongcheongwan. Crown princes, royal families, and government officials wore Oryang-Gwan and Jekraeui, which were Jobok. The crown princes' Joboks were changed from Oryang-Gwan to Wukryang-Gwan in the dynasty year 10 of King Sejong, and in the year of King Munjong's accession, Myeon-Bok was received, and after King Danjong, the crown princes wore Palryu-Pyeongcheongwan and Chiljang-Bok. Diplomats and Jongsagwan who were the envoys wore Sangbok. A Sangbok worn by the diplomat was Samo with Danryeong, Seo-Dae, and Hyeopgeum-Hwa, and a Sangbok worn by Jongsagwan was Samo, Danryeong, Heukgak-Dae, and Heukpi-Hwa. Byulgam, who served as an attendant to the king in the king's close quarters, wore Gongbok and Sangbok. Gongbok consisted of Ja-Geon, Danryeong and Heukpi-Hwa, and Sangbok consisted of orange color Cho-Rip, Jikryeong, Joa, and Heukpi-Hwa. The person holding San, Gae , Sujeongjang, and Geumwolbu wore Ja-Geon and Cheong-Ui, and Seon wore Pimoja and Hong-Ui. Siwigun wore armor and helmets equipped with weapons. Among court musicians, Aksa's costumes consisted of Bokdu, Bigongbok, Geumdonghyeokdae, Bibaekdaedae, and Opiri, and Aksaeng's one composed of Gaechaek, Bisuransam, Hyupgo, Mal, Maldae, and Opiri. As a result of the above, the process of ceremonial clothes becoming uniform clothes in the reign of King Sejong was confirmed. The king and lower-ranking officials such as crown princes, government officials, diplomats, Byulgam, armies for ceremonial weaponry, and court musicians participating in the Bapyo Ritual wore the highest grade of ceremonial clothes for each class. King Sejong had repeated discussions to build a nation based on Confucianism, and arranged each rite and corresponding costume, and the Bapyo Ritual costume was also systematically prepared for each position. The ceremonial clothing organized during the reign of King Sejong was regulated in Yejon and became the basis for continuing to the late Joseon Dynasty.

• Journal of the Korean Home Economics Association
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• v.49 no.4
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• pp.1-9
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• 2011

This study aims to examine the costumes, which a shaman wears for the ritual of exorcism in the Honam region. The findings are based on a field survey of the exorcism ritual, which is performed by hereditary shamans and forms part of an annual event in the Honam region. Two main features of the shamans' costumes were observed. Firstly, the types of shamanic costume worn for gut reflected the general traditional costume but with some variations. White-colored costumes are largely found in the Honam region. Secondly, the types of costumes, which shamans wear in the Honam region. are also varied. The different types of shamanic costumes, regardless of Ga-sa, can be classified into Jang-sam, Jeon-bok, or Duru-magi, variations in the patterns of costumes, differences in the types of conical hat, and modifications in the dress code.

• Journal of the Korean Society of Costume
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• v.25
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• pp.269-284
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• 1995

This study investgates the significance of Chosun burial clothing in 15th to 17th Centuries by examing the costumes recorded in the ryesu (ritual books). Referring to description of the mouring-rit-ual in the the Kujoohryei(국조오례의), the sangryebiyo(상례비요), they exhibit little differ-ence in the ceremonial procedure, this implies that the the Jujagarye, the oldiest Chinese Ryesu, had influence on the manner of Chosun. The Kujoohryei(국조오례의) written-in 15th Century played a paramount role in domesti-cation of burial costume(염습의) which had been performed by the Jujagarye(주자가례), and the sangryebiyo(상례비요) etc written between 16th and 17th Centries promoted to genealize the mouring-ritual to the ordinery people. In the period, ryemsupui(염습의, clothing for the dead) is costumes for 'sup(습)', sofyum(소렴), and 'daeryum(대렴)' in the mourning ceremorial procedure, and for postliminal rites in the rites of passage. The reason of using clothing which they put on the dead's own daily clothing stands for eagerness for lasting life not only in this world but also in the other world.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.5-12
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• 2000

Jaesuk-koli an important part of the 12 shamanistic rituals, is an accepted buddhist monk's costume. In this paper, the Jaesuk-kori costume and its meaning are studied. The ornaments of shaman's costume differe somewhat from region among individual shamans, but the symbolic meansing are fairly similar. The significance of Jaesuk-kori shaman's costume ar as followed ; First , a Buddhist monk's costume is accpted in the Jaesuk-kori ritual costume. Second, a shaman wears Jangsam (long-sleeved buddhist robe) and Kasa (surplice) in the Jaesuk-kori rituals. Third, the ornament of Sipjangsang objects search for earthly happiness while the rotus flower embroidered on the costume , depicts purity in the heaven world. Fourth, five colors in the Jaesuk-kori costume represented, Yin and Yang of universal harmony. Jesuk-kori ritual costumes signify that traditioal shamanism was accepted and absorbed into Buddhist rituals system.

• Journal of the Korean Society of Costume
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• v.20
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• pp.83-91
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• 1993

Signifying clothes can be defined as a process in which a clothes obtains a symbolic meaning by confining its use and purpose. In this paper we catagorize the process of signifying clothes that appears in the Byongkut as follows : first removing the clothes, secondly putting on the clothes, and thirdly burning off the clothes. Removing the clothes is a process of dramatic realization and clearly shows proven facts about the things that will occur in the process. Putting on the clothes is a process of falsified expression in which the interest is transferred from the person who wears the clothes to the clothes itself by the shaman's insinuation who leads an interpretation about the clothes. Buring off the clothes is a pro-cess of mystification in which the end of Byongkut is sublimated mistiriously by making the partici-pants believe with the burning that the clothes and the diseases have been curred, and therefore, the ritual is kept from spoiling. The clothes used in Byongkut that religious belief and belief system are expressed through behavior style, and that supernatural power is designed to reveal is related with the various aspects of symbolic life indicated by the clothes.

• Asia Marketing Journal
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• v.1 no.3
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• pp.12-33
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• 1999

Recently, consumer researchers have been interested in consumption ritual that expressed condensedly the consumption system in a culture. From various disciplines this study examined the 'ritual' and 'ritualized behavior' which are unique to human beings and analyzed the relation of ritualization of consumption experience and buying behavior. According to the degree of ritualization, consumers were categorized into four types - ritualized, habitualized, involved, and non-ritualized consumers. In the empirical study, the relation between ritualization of "dressing-up (i.e. to put on the clothing with the intention of wearing displaying them publicity)" and buying behaviors related to clothing was explored through in-depth interviews and a questionnaire survey with 434 married Korean women. Through statistical analysis, research questions were identified in an empirical study: as the consumption experience becomes more ritualized, the purchasing frequency, ongoing involvement, brand loyalty, and opinion leadership will increase as part of clothing buying behavior. Herein, the implications of the study and further research issues are discussed.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.2 no.1
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• pp.159-162
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• 2022

• Journal of the Korean Society of Food Culture
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• v.13 no.4
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• pp.241-260
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• 1998

1. Both the festival held in Confucian temple to honor Confucius or a religious ceremony in Korean traditional lecture-hall are the sacrificial rituals which is the mark of the respect for prescholars and these rituals has been followed the rules written in the book,'Yaegi' 2. For the Food formal display for the festival in Confusian temple of Chinese Gukjagam, Pebak(clothes), Mohyul(hair and blood), and the ritual food dishes, such as Byun 10, Doo 10, Gang 3 (Deung 1, Hyung 2), Bo 2, Cue 2, Jo 3 (Taeraeu as beef dish 1, Soraeu as sheep and pork dishes 2), Joo(alcohol) 3 were displayed, while in Juhyunhak, Byun 8, Doo 8 were displayed. In Taesangji edited around in 1873 in Korea, for the Confucian shrine Pebak, Mohyul, Byun 10, Doo 10, Deung 3, Hyung 3, Bo 2, Cue 2, Jo 6 (raw 3, cooked 3), Joo 3 were displayed. In pedantry Confucian temple, Pebak, Byun 8, Doo 8, Bo 2, Cue 2, Jo 2 (raw sheep and pork), Joo 3 were displayed while Mohyul was omitted, which this type of display was almost identical through the nationwide survery for the Confucian food display. Some of the Confucian food display, most of the display for Bo and Cue have been changed to Bo 1 and Cue 1, and one fifth of the Confucian display for Byun and Doo also has been changed in the numbers and food varieties. 3. In most of the sacrificial ritual food display in the Korean traditional lecture-hall, Pebak (some not applicable), Byun 4, Doo 4, Bo 1, Cue 1, Jo 1 (raw), Joo 1 were displayed. In these days, the number of the Confucian temple where the sacrificial rituals is not held, has been increased. 4. For the names of food for the Byun and Doo dishes, mostly the old names are used, however, minor changes in materials and cooking method have been found.

• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.25-39
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• 2002

The purpose of this study is to look into dressing practices at the Woinarodo region in terms of ordinary and ritual clothes. Men wore Bqji(trousers) and Jeokori(jackets) as their plain clothes and sometimes Jangsam mid Durumaki(topcoat). During the period of Japanese colony, men wore Western-style clothes. For women it was basic to wear Chima(skirts) and Jeokori. And they preferred Momppe rather when in Japanese rule. In arrangements for their head, men put on gut, and had their hair cut during Japanese nile. Women laid a bundle of their braided hairs on the head or braided their hair, while married women did their hair up in a chignon during the ruling period People of the region put on straw and leather shoes, and then rubber ones since the late 1930s. Hand weaving was a major means of living for women at the region. Ramie, hemp and cotton were mainly weaved by hand. Starching was applied mainly to ramie and cotton. Glues for starching were made of raw rices, cooked rices, wheat flour or gloiopeltis tenax. For ritual clothes, especially in wedding, bridegrooms arranged themselves with Samokwandae and then Put on Baji, Jeokori, Durumaki and Danryung. But they Put on Western-style dresses as the liners of Danryung, and wear Nambawi Rather than the Samo after korean independence from Japanese rule. Bridges wore Chima, Jeokori and Wonsam and Chokdoori and covered their face with Hansam Wonsam did not be worn any longer after Korean independence from the rule. Shrouds for funeral ceremony were manufactured with silks, cotton and hemp, when the chief mourner wore hempen hoods and funeral robes, while women, Chima, made of hemp. and any type of Jeokori.