• 대한가정학회지
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• 제44권1호
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• pp.131-138
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• 2006

The yanggwan is a striped headpiece for civil and military officials worn with jebok, a costume for the royal ancestral worship ceremony, or jobok, a ceremonial costume for the courtier. It was called a jegwan when it was worn with a jebok. The geumgwan and jegwan are of the same style but the geumgwan has a gilded band and backside and the jegwan is mostly lacquered. The yanggwan was worn first with the jebok by the officials, both of which were received from the Chinese Ming dynasty in the 19th year of the King Gongmin's reign during the Goryeo period. The royal crown and court clothing system was two grades lower than the standard clothing code of the Ming dynasty of China. In the Joseon dynasty, the oyanggwan worn by the highest grade officials had five-stripes but was later replaced during the Daehan Empire by the seven-striped chilyanggwan used by Ming dynasty officials. Oyanggwans make up the majority of the surviving examples of these headpieces, with the exception of the six-striped yukyanggwan of Chung In-hak (1839-1919), the Minister of Justice, which originated in the Daehan Empire and whose owner is definitively known. The gilt portion of this yukyanggwan is finely engraved in relief with a bird, flower and tendril motif. The yukyanggwan is topped by a decorative bird ornament, called a jeongkkot. EDSS spectrum analysis of the gold plating reveals a composition of 51.32% gold and 10.34% silver. The yanggwan is composed of bamboo, mulberry paper and silk crepe. The black portions are lacquered. The individual yang is made with twisted mulberry paper.

• 한국의류산업학회지
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• 제9권3호
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• pp.286-294
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• 2007

Dolbok, the first birthday suit, is a formal suit a person puts on for the first time after birth. It not only a symbolizes of Korean customs or traditions, but also represents transmitted ideas, values and lifestyles of Koreans. In this nation where strong preferences for son prevailed, dolbok for boy was specially important. 1.Styles of weaing Dolbok are classfied into trousers and jeogori, baeja, magoja, durumagi, jeonbok, sagyusam and yongpo styles in accordance with what kind of clothes was finally worn. 2. Accessories of dolbok for boys included dolddi, dol jumeoni, gulre, bokgeon, hogeon and tarae baeseon. 3. Dolbok of trousers and jeogori, baeja or magoja style simply consisted of 2 to 4 units of clothes. It was usually worn by ordinary people, and strongly imaged as common. Dolbok of durumagi or jeonbok style was a combination of 5 to 6 units of clothes and mainly worn by noble and royal families. It was remarkably formal, but quite brilliant. The suit for first birth anniversary which was sagyusam or yongpo was made in accordance with court rules and used by the royal family, It consisted of 7 to 8 units of clothes. Dolbok of sagyusam or yongpo style used invariable, simple patterns and colors, but had strong images of courtesy and dignity. 4. Regarding accessories of dolbok, the long-hanged goreum was a symbol of parental wishes for the $baby^{\circ}{\emptyset}s$ health and longevity and dolddi was joined by dol jumeonisymbolizing the wealth and prosperity of the baby. In addition, hogeon was a hat whose shape was the head of tiger symbolizing wishes for bravery and health and tarae beoseon was childlen's socks that had seams, symbolizing prosperity, on the fore edge. Seon for sagyusam was used as a symbol of preventing diseases or evil spirits to protect the health of the baby.

• 문화기술의 융합
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• 제9권5호
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• pp.83-90
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• 2023

최근 젊은 세대의 전통 복식 체험이나, 퓨전 한복의 일상복화 등의 추세에 따라 한복용 헤어 액세서리의 개발이 필요한 실정이다. 본 논문의 연구 목적은 왕실 여성의 머리 장식을 활용하여 한복과 어울리는 실용적이고 현대적인 헤어 액세서리 디자인을 개발하여 한복 문화를 활용한 패션 콘텐츠 개발의 영역을 확장시키고, 전통 문화의 다양한 경험에 대한 수요를 충족시키는 것이다. 연구 방법은 문헌연구를 통해서 전통 머리모양 및 영왕비의 전통 장신구들을 조사하였고, 실증연구로 실물을 제작하였다. 제작과정은 먼저 전통 머리모양을 응용하여 나일론 메쉬로 기본 형태를 만들었고, 그 위에 장엄하고 화려한 왕실 유물을 활용한 디지털 텍스타일 프린팅 원단을 접목하여 궁극적으로 전통 장신구를 착용한 듯한 트롱프뢰유 기법을 줄 수 있도록 디자인을 설계하였다. 결과적으로 총 6개의 헤어 액세서리 디자인이 완성되었으며, 헤어 밴드, 헤어 핀, 헤어 고무밴드의 구조로 제작하였다. 또한 착용자의 헤어 스타일에 관계 없이 간편하게 착용할 수 있도록 하였고 나일론 메쉬 소재의 특유의 빳빳하면서 유연한 재질을 이용하여 볼륨감 있는 머리 모양을 효과적으로 표현하였는데, 이는 마치 머리카락과도 같은 시각적인 착시 효과를 즐길 수 있다는 장점이 있다. 이러한 연구 결과를 통해 일상의 유희와 희소성 있는 가치를 추구하는 대중들에게도 독특한 미적, 문화적 경험을 제시할 수 있을 것으로 생각된다.

• 복식
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• 제59권5호
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• pp.1-18
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• 2009

Due to the severe damages, it is very difficult to fathom out the original shape of the armor of Seong-ryong Ryu(1542-1607) right now. Ryu was a distinguished scholar official of his period, and his remaining armor has been designated as a National Treasure No. 460. This is a study of the types of the used scales, their positions used, the methods of their connections, and their hemmings, to figure out the original process of producing the armor. Based upon the research results, the remaining pieces of the armor are restored according to the discovered contemporary procedure of the armor. Then hypotheses are proposed for the three kinds of armor made up of long pieces, and three kinds of the armor of short pieces, and problems of the proposed hypotheses are considered for further studies. Hopefully this kind of approach shall serve as a ground stone for the better restorations of the scale armors of Joseon period in the future.

• 대한가정학회지
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• 제24권2호
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• pp.13-23
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• 1986

We investigate several theories on how the cravate came into being and eventually evoved into the modern day necktie. Among the different possibilities, the most plausible case is the introduction of the neckwear by croatioan soldiers into France near the beginning of the seventeenth century. During seventeenth and eighteenth centuries, the beautiful costumes and extravagant embroideries using the expensive laces, were common oractices among the high society of the royal court, and the cravate evolved into a favorite ornament. While it was emerging as a beautiful part of man's dress in France and the continent, Charles II brought the cravate to England where it became the central part of the dandy's dress. The cravate became not only a part of dress but a subject for a solemn ceremony. George brummell was the most famous English dandy associated with this ritual and he is also credited as the father of modern men's dress. In england, Brummell became famous for his clean cravate was used as the expressionis of political opinions. They were san cravate, muscadins and incroyables, for example. The classic style of male dress in the nineteenth century was due to Brummell and the severe unadorned silhouette he started has changed very little to became the present day male dress.

• 복식
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• 제40권
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• pp.37-50
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• 1998

The goal of this suudy is to investigate the production and distribution of silk fabrics of the CHO-SUN Era. My conclusions culture was advanced as a result of its promotion by government authorities. It proceeded from south to north, and spread all over the country. The north became the center of the silkworm culture since cotton was cultivated in the south. Second, the production of silk fabrics proceeded by government orders at the beginning. But it proceeded by private enterprise at a later period. Since government-managed textile handicrafts began falling off during the 16th century, privately managed handicrafts were accomplished slowly. Third, at the same time as the introduction of natural cotton fabrics, the production of various fabrics in the CHO-SUN Era proceeded all over the country, and special production localities-formed. PYUNGAN-DO(평안도), HAMKYOUN-DO(함경도), HOANG HAE-DO(황해도), and KYUNG SANG-DO (경상도) were the main region of silk fabric production. Fourth, the silk fabrics were distributed through the capital markets and the province markets. And superior silk fabrics were distri-buted through the capital markets. And all sorts of low quality silks JU were distributed through the province market. Fifth, thus an abundance of superior silk fabrics was distributed in the CHO-SUN Era. But thequantity of production was not enough. And most of it was used in the Royal Court. The quantity of shortage was supplied by imports.

• 복식
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• 제61권5호
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• pp.147-163
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• 2011

King Jeong-jo (正祖) was the 22nd king of Joseon dynasty (朝鮮王朝), who led the golden age of Korean culture during his ruling. This study is on the burial dressing of King Jeong-jo based on the publications during his ruling; such as "Gukjo Sangrye Bopyeon (國朝喪禮補編)", "Chungwan Tonggo (春官通考)", Jeong-jo "Gukjang Dogam Euigwe (國葬都監儀軌)", "Jeongjo Binjeon Honjeon Dogam Euigwe (正祖殯殿魂殿都監儀軌)" and "Jeong-jo Sillok (正祖實錄)", "Gukjo Sangrye Bopyeon (國朝喪禮補編)" was published in 1758. It compiled the funeral protocols of royal court, complementing the shortcomings of protocol documents published till then. "Chungwan Tonggo" was published in 1788, compiling all the protocols and customs practiced during Joseon dynasty in an organized manner. "Jeong-jo Gukjang Dogam Euigwe" and "Jeongjo Binjeon Honjeon Dogam Euigwe", record the burial dressing and the state funeral of King Jeong-jo in detail based on the contents of above protocol publications. In addition, the 'Daeryeom Euidae ', 'Soryeom Euidae', 'Seup Euidae' and 'Mokyok Euidae' that had been actually practiced were studied in detail based on the records in June/July, 1800 in Book 54 'Jeong-jo' of The Annals of the Joseon Dynasty. The timing of King Jeong-jo's state funeral was when the most elaborated and complete protocol books of Joseon dynasty had been published. Therefore, it was possible to explore the solemn and magnificent funeral culture and King's burial dressing in late Joseon dynasty by way of King Jeong-jo's burial dressing.

• 복식
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• 제35권
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• pp.293-304
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• 1997

This paper is a study on the expression of Clothing and Textiles recorded in $\boxDr$Eigamono-katary$\boxUl$This book is a novel de-scribed the Royal Court from 883 till 1107. In this book many kinds of Garments Orna-ments Colors and Materials were mentioned. But in this paper 69 kinds of Garments and Ornaments were reserched and the rest will be reported in the next paper, The discoveries of this paper were as follows. 1. All the things of this book were reflections of the reality in Heian period. 2. The main styling of that period was a little bit soft but the straight silhouette were fashioned, . In that time Clothing had a special meaning and the manner for a fashion was very important, .3 In the female garments Karakoromo were developed many kinds of pattern by dyeing method, Especially the Surizome was fashioned very much. 4. there were many kinds of gray tone like as clerical robe and mouning dress. This was the effection of Buddism style. 5. The decoration of fablics and garments were usualized for instance smooding and luster by beating and starch sewuing a piece of gold silver and shell nakabe and knot bend. Shawl Yumaki and Kosizasi was a charming point of that time, . 6, hair decoration shose parasol rain coat etc, . were developed and use freuently.

• 대한한의학원전학회지
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• 제19권3호
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• pp.210-227
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• 2006

Many historians presume that several kings included the crown prince were killed by poison in the Jo-Soon dynasty. Above all, there is every possibility of killing the crown prince So-Hyoon(昭顯) by poison. The crown prince So-Hyeon was detained for 8 years in Sim-Yang(瀋陽). He died suddenly in two month from coming home. According to an authentic record, official death causes were malaria. But there is little possibility that a young crown prince die of malaria at the age of 34. His dead body shows change of skin color and bleeding from the ear, eye, mouth, and nose. This is the sufficient evidence that he was killed by poison. King In-Jo have a doubt that he was ousted from his post by crown prince So-Hyeon in conspiracy with cheong imperial court. Especially, after the crown prince So-Hyeon's death, owing to cold attitude that king In-Jo shows and a tragic affair that occurred to the crown prince's family, king In-Jo is under suspicion as the mastermind of the murder. Another poisoners are Jo-So Yong(趙昭容) and Lee-Hyeong Ik(李聲益). Jo-So Yong, a royal harem, intrigue against the couple of crown prince So-Hyoon. Lee-Hyeong Ik that win king In-Jo's favor take charge of the medical treatment. We supposed that toxic substance is arsenic poison.

• 한국식생활문화학회지
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• 제28권1호
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• pp.1-11
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• 2013

This study examined the prevalence of the traditional fruit preserve, gwapyeon, recorded in 10 royal palace studies and 10 old literature reports on the Joseon dynasty (1392-1909). A total of 62 papers presented the Gwapyeon kind in the documents of the Joseon dynasty. The protocols of the court of the Joseon Dynasty and old literature discussed the Gwapyeon as follows: Nokmalbyeong (ohmijapyeon) 22.5%; aengdupyeon (櫻桃片) 14.5%; salgupyeon (杏) and bokbunjapyeon (覆盆子) at 11.3% each; beojjipyeon and mogwapyeon (木瓜) at 8.1% each; sansapyeon (山査) and chijapyeon at 6.5% each; duchungpyeon (杜沖) 4.8%; and deuljjukpyeon, saenggangpyeon (薑), daechupyeon (棗) and yujapyeon (柚子) at 1.6% each. From "Junghae-Jungraeeuigwe (丁亥整禮儀軌)" (1827) to "Junghae-Jinchaneuigwe (丁亥進饌儀軌)" (1887) called nokmalbyeong (菉末餠). "Sinchuk-Jinchaneuigwe (辛丑進饌儀軌)" (May 1901) renamed the ohmijabyeong (五味子餠). "Sinchuk-Jinyeoneuigwe (辛丑進宴儀軌)" (July 1901), the assorted-sulsilgwa (各色熟實果 ) were included in the ohmijabyeong. "Imin-Jinchaneuigwe (壬寅進饌儀軌)" (April 1902), The ohmijabyeong (五味子餠) and assorted-sulsilgwa (各色熟實果) was used and a mixture of "Imin-Jinyeoneuigwe (壬寅進宴儀軌)" (November 1902) included the assorted-sulsilgwa (各色熟實果).