• 한국의상디자인학회지
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• 제18권1호
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• pp.183-190
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• 2016

A mourning dress is the formal costume that the mourners wear to show civility during the mourning. Traditional funeral rites are the Confucianism's funeral proceeding where the mourners wear according to the National Mourning Dresses System. However, nowadays, the funeral proceedings and mourning dresses are simplified. In result of current design analysis of the mourning dresses for women, the types of the mourning dresses for women are classified by traditional styles and modern styles. Traditional styles include skits and Jeogori make of hemp fabrics, and modern styles include skits and Joegori style, modernized Hanbok style, and Western style, which consist of cardigan, waist skits, jackets, and pants. The modern styles mostly use polyester and the color consists mainly of black and white. The followings propose new designs of mourning dress for women that reflect practicality, flexibility, and diversity. First, transmit the meaning that traditional mourning dress entails Second, change the length and the width of Jeogori and skirt by reflecting the trend of the time and change the designs of the mourning dresses by using the details of the modern styles so that they are equipped with practicality, flexibility, and affordability. Third, pursue diversity by changing the uniformed fabrics and colors used on the existing mourning dresses. This study addresses the drawbacks and the points that need be improved to suggest the designs of the modern mourning dress for women, which reflect the characteristics of Hanbok and cultural traits.

• 한국의류학회지
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• 제18권4호
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• pp.566-573
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• 1994

The Purpose of this study is to the organization principles of mourning dresses in Confucianism. The results of this thesis summarised as follow: The organization of mourning dresses laying stress on LiGi, the book of rites has six kinds of contents, Fushu. It is established on the rules and regulations of a religious sect in Confucianism, ZongFa. The succession ideology of ZongFaism has played on important parts in formation and conservation of the large familly system by the medium of mourning dresses with 5 classified costumes, WuFu. And the familly system in mourning dresses makes the rules in kindship category and primogeniture by WuFu grades.

• 복식문화연구
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• 제8권5호
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• pp.648-659
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• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.

• 한국의류학회지
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• 제32권10호
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• pp.1595-1607
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• 2008

The purpose of this study is to find the reason why the National Mourning Dress System of the Joseon Dynasty had been established although the General Mourning Dress System had exist through research of three things; differences of each social class, changes of the National Mourning Dress System by the age and differences between the National one and the General one. The methodology which is adopted for this study is comparative analysis by social class, period and age from the Annals of the Joseon Dynasty and the Orye-e. And this study is focus on the women's dress. The results of this study is as follows; Firstly, some mourning dress items had been different or not used by class. Secondly, although there had not been a great change, some dress items had been disappeared or used irregularly. And Naemyoungbu Naekwan's mourning dress had been changed by the age. Thirdly, The National one was more extensive in wearing and applied differently by class compare to the General one. Also it had an additional rule according to the period, duty and place to Naemyoungbu-Naekwan and Naemyoungbu-Goongkwan. The National one had been established by ruling class of The Joseon Dynasty who had tried to keep the Confucian standard and perfect social status system. And it is supposed that the National Mourning Dress System had not been a great change because the ruling class' will had not been changed.

• 복식
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• 제54권4호
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• pp.55-62
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• 2004

The ceremonies were roughly categorized into four： coming of age, marriage, funeral and ancestral worship. Among them, the funeral was a representative example to show ancestral worship. As it symbolizes the worship to ancestors, its procedure was complicated and formalized. It was undoubtedly certain that formalized mourning dresses and complicated table setting for sacrificial services to ancestors were burdens. Although what was symbolized by mourning dresses was different depending on the wearers purposes, it was thought that no clothing had such unusual symbolism as mourning dress. When the composition of mourning dress was examined, it was shown that Taoism, family relation of Confucianism or symbolic clothing system of Shamanism were combined. Mourning dress first represented the Confucian idea of ancestral worship. For the composition of clothing in which a shamanistic element was inherent, forms of birds were used to guide the dead soul to the other world. In cutting out mourning dress, opposite concepts of Yin and Yang, and closure and openness were used to show a harmony between heaven and the earth. Male and female were represented through sewing techniques. The period of observing the mourning period depended on the degree of kinship. The degree to which the clothing was loose indicated the degree of sadness and kinship. Load blocks and tear pads indicated the degree of sadness. In considering the above indicators, family relation and filial piety to ancestors had a great effect on the form and details of mourning dress. Shamanistic elements as well as Confucian ones were inherent in mourning dress, which resulted in the combination of Taoism and Confucianism.

• 복식
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• 제16권
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• pp.221-229
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• 1991

This thesis aims at reviewing the wearing aspect and formation of Chosun ceremonial dresses for meal and finding out the thought reflected by them from the standpoint that dresses themselves should be taken as one of the phenomena in culture. That is men's ceremonial costumes and confucian costumes of the royal family and the gentry family in Chosun is reviewed focused on the formation and the wearing aspect of Po, Which is a kind of them. And in the context of the phase of the times. I also considered the thoughts reflected on the clothes such as confucianism, Ying & Yang Theory, and the symbol and the thoughts of patterns in relation to the clothes. Confucian influence was the main force for the Chosun prohibitions for clothes. The major reasons for the prohibitions for clothes were as follows. First, they reflected confucian Chung myoung chooui(the principle that everything should be where it belongs). That is the prohibitions for clothes were used in the means to maintain feudalistic social order. influenced by social rank system. Second, they reflected confucian ethics in the means to recover social disciplines with the maintenance of traditional customs. This shows well in the restriction of luxurious items in dressing included the prohibitions for clothes. Third, they reflected Chosun's toadysm toward China. With the influx of Chinese style of dressing then government even changed the style of uniforms for public officials into that of Chinese resulting in dual styles of dressing. Ying & Yan Theory greatly affected the colors of Korean clothes and reflected toadysm toward China. too. The theory was embodied by prohibition of such colors for clothes as white, gray, and jade green. I reviewed the twelve patterns on Myunpok, Ten-Longivity patterns and Four-Gracious plants patterns in order to analyze the symbolism and thoughts of patterns for clothes. Nansam, Dopo, and Shimui worn by confucian scholars ensures that those clothes bears confucianism and philosopical factors. As shimui was worn by many people it appears in Chosun scholars' studies and a Chinese book called "Yeki". I reviewed the origin, procession, and ornaments of four ceremonial clothes and tried to find out the confucianism in them. First, In Kwanrei (the coming-of-age ceremony) remained ancestor worship and respect for manners. The clothes for this ceremony granted the rights and responsibilities of and adult to the wearer. The royal Kwanreipok had different dresses for each rank. As Samgapok, the crown prince wore Iksunkwan and Konryongpo for the first ritual, Wonryukwan and Kangsapo for the second, and Myunrukwan and Konpok for the third. The rank of the King's grandson was lower than the crown prince's. This example shows that Chosun people respected manners and thought the basic confucianism "God and people are equal." at the Royal court. Second, as Honreipok(wedding gown), the crown prince wore Myunrukwan and Konpok for Daereipok, Wonyukwan and Kangsapo for Napjing and Tongwoo, and Iksunkwan and Konryongpo for Chekbinui. But common people were allowed to wear an official outfit only for wedding in the means of congratulation on the most important day of their life. Wedding gowns which reflected Ying and Yang Theory emphasized the thought that union of a man and a wife is the most important event in life. Third, Sangrei(funeral) was the last ritual of a human being to send off the deceased. The mourning dresses expressed lamentation of the people left behind. Five-Dress-System for each the relative degree of familarity showed the solemnity and formality, which represented the formality of confucianism and ancestor worship. I reviewed the mourning dresses by dividing them into royal, Yangban's, and commons. They were featured by the fact that there was only one style for every walk of life. It is construed that anyone in mourning can wear the same clothes since he feels the same way regardless of his social rank. Fourth, Chereipok(sacrificial rite dresses) had different styles for each social rank. The King wore Myunpok(Kuryumyun and Kujangpok) were recorded to be worn first in the fourth year of King Taecho's ruling. The crown prince wore Palryumyun and Chiljangpok for sacrificial rite dress which was finally settled when King Sejong was in power. Common people wore Dopo, Shimui for the rite dress in the beginning of the Chosun Era and wore Dopo after Japanese invasion of Korea in 1592. In conclusion, confucianism played the main role in ceremonial dress system of Chosun and that was because it emphasized the ethics of action in life, which was different from other religions. It is true that cause-oriented thoughts and Chung myoung chooui in confucianism drove all ceremonies to extreme manners, discriminating the people who belonged to the lower social rank, and resulting in extremly luxurious life style. However, they also created a unique trend and clothes culture in the Chosun Era. I wish that this thesis provieds important information and direction for furthur studies in the future.