• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.68-84
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• 2009

A state wedding ceremony of kings and crown princes in the Chosun Dynasty was systemically formalized in a book Five National Ceremonies (1474) as one of the five major formal events of the royal auspicious ceremonies(Ga-rae). For a state wedding, Ga-rae Protocol was made by a devision for Ga-rae temporarily established for the occasion. A total number of auspicious ceremony protocols of kings and crown princes amounts to 20 in the span of 279 years. Among the proposals, the wedding of Soon-jong in the Imo Year of 1882 is described most thoroughly. Nap-bin-ui(reception of bride) comprises six rituals which are nap-chae, nap-jing, go-gyi, chaek-bin, chin-young, and dong-ryae. A grand formal costume of the crown prince is granted based on the 'Seven Parts Formal Costume' of the first year of the king Moon-jong in 1450 together with an official costume for crown prince(Gon-myeon-chil-jang) arranged in the third year of the king Young-rak. In the royal palace of the Chosun Dynasty, the granted formal costume of the crown prince is officially recorded as a code and presented in a Gwon-ji-il section of the Formalities of the Five National Ceremonies. The formal costume and its accessory set for the crown prince recorded as a code are described in Sangbang Jeong-ryae as the formal costume of the crown prince section published by the king's request at the high senate commission in the 28th year of the king Young-jo in 1752. The aim of the study is to investigate the formal costume of the crown prince as an auspicious ceremonial costume worn at the wedding in the year of Imo.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.1-17
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• 2014

This study explores women's Wonsam in the 18th century. Wonsam was women's wedding dress, one of the representative ceremonial garments of Korea. Wonsam began to appear in the excavated clothes around the 18th century, and we can find drawings and records of the period in Yongjae Collections by Kim-kunhaeng. The form of Wonsam after the 17th and 18th centuries showed the changes in which Seop and Mu disappeared in Baeja form of Danryoung(團領) and the right and left symmetry and side slits were highlighted. The change also included wide and long sleeves and Sakdong(색동) colorful strips on the sleeves), Hansam ornaments, and the use of the belt, which means the change of Baeja composition into our traditional costume of the age. Through the Colletions, we notice that women wore Wonsam in different colors and with varying hair accessories according to the nature of ceremony, the social status, and marital status. Concerning Wonsam, the color of clothing for the dead woman was green(喪禮), while that for marriage ceremony was red(婚禮). Wonsam with the light color was for ceremonial clothing(祭禮). The women who served in the palace wore green Wonsam and Geodumi, while a bride at the marriage ceremony wore red Wonsam or a red long-sleeved robe with Jokduri. At the ceremony of Hyeongunorye, women wore Wonsam with a wig. the dead woman wore Yemou.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.364-371
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• 2015

This study investigated and analyzed Sadanggut for General Namyi, Agisee Gutdang in Haengdang-dong, Dodanggut in Bonghwa Mountainto examine the type and characteristics of official hats for shaman's costumes based on Seoul village gutas a spiritualistic shaman revealing the divinity of music for gutthrough singing, dancing, divine material and official hats. Commonly worn official hats were Goggal(conical hats), Jeonlip(soldier's felt hats), and Heuklip(black hats) for Seoul village gut as the object of thisstudy. Each official hat had a close relationship with subjects for divinity and musical meaning for gut. Julip(Red hats), Jokduri(bride's headpiece), helmets, Iksubgwan(King's official hat), and Daesu(Queen's a big wig with various hairpins) were also worn. Official hats worn for Seoul village gutwere understood to symbolize divinity and raise authority and dignity to the public through aggressive appearance, exaggeration and splendor. Concretely, official hats at Seoul village gut first had roles to materialize the divinity of each music of gut. Second, recognized as a part of performance or traditional culture in present day, aggressive official hats were favored to supply splendid attraction and maximize scenes of divined heroic epic poem in gut. Third, for Seoul village gut, colors and silhouettes of modern traditional costumes were reflected pursuing partial change and focused on exaggeration and splendor to express the mirth and festival of gutwhile maintaining traditional costumes.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.939-951
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• 2007

This paper is about bridegroom's wedding robe, danryung(團領, a kind of official uniform) which can be found in the scenes of wedding ceremonies such as Chohaeng(初行, a ceremony that the bridegroom goes to the bride's house for wedding) and Hoehonrye(回婚禮, a ceremony that celebrates the $60^{th}$ wedding anniversary) in the genre paintings from the $18^{th}$ century to the $19^{th}$ century. In the documents of the $18^{th}$ and the $19^{th}$ centuries containing the wedding information of that period, danryung was described in various red tones ranging from Ja(紫, purple), Gang(絳 crimson), to Yeonhong(軟紅, pale pink). Similarly, red danryung(紅團領) was seen most frequently at the Chohaeng sights of the genre paintings. On the other hand, it was often depicted that the bridegrooms put on various colored danryungs at Hoehonrye. This was because bridegrooms at Hoehonrye wore their full dress according to their official ranks. In the genre paintings of the 18th century, all bridegrooms wore simple danryungs without hungbae(胸背, official insignia panel) except those in Hoehonrye painting where officials used hungbae. On the contrary, hungbae was discovered in the $19^{th}$ century Chohaeng paintings even though it was not precisely painted. This change of the bridegroom's danryung with hungbae attached was related to that of the official uniform system itself, in which black danryung with hungbae was exclusively used for officials. Afterwards it became the basis of the blue danryung of the present day.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.71-80
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• 2012

The Kut is the core of the traditional folk religion. The afterlife wedding Kut actually performs a traditional wedding ceremony by personifying the deceased in the process of performing the composition of Kut geori that cannot be observed from other Kuts, which is an important means to convey the situation of Kut more clearly. A traditional wedding ceremony performed in the Kut enables the audience to understand the meaning behind the Kut. The costume worn in the traditional wedding ceremony of the afterlife wedding Kut makes the audience understand the existence of the deceased by the use of a scarecrow dialect and makes them feel a vivid sense of the scene emitting from the Kut, which performs a traditional wedding ceremony in the composition of Kut geori. The results of this study showed that a shaman who led the afterlife wedding Kut had a scarecrow that symbolized the bride and a bridegroom wear the traditional wedding costume in order to visualize the deceased and express the symbol of a wedding which could not be made in this world. It can be interpreted that the traditional costume derived from the afterlife wedding Kut plays a symbolic role, which converts the deceased into a living person through the formal aspect of ceremonial costume and the cultural aspect of wedding ceremony.

• Korean Journal of Materials Research
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• v.8 no.9
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• pp.819-824
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• 1998

The influence of casting cooling rate during the preparation of ingots on the grain size distribution and the magnetizing ability of $\textrm{Nd}_{16}\textrm{Fe}_{72}\textrm{V}_{4}\textrm{B}_{8}$ sintered magnets were investigated. Sintered magnets prepared from copper mold which allow a higher cooling rate, show a smaller grain size distribution and god magnetizing ability. The effects of adding bride forming elements, such as Cr, Mn, Nb, and W on the magnetic properties of Nd-Fe-B sintered magnets were also investigated. Both Cr and W addition increase coercivity and the resultant $\textrm{Nd}_{16}\textrm{Fe}_{72}\textrm{Cr}_{4}\textrm{B}_{9}$ alloy exhibits a similar magnetizing ability in comparison with $\textrm{Nd}_{16}\textrm{Fe}_{72}\textrm{V}_{4}\textrm{B}_{8}$ alloy.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.2
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• pp.275-286
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• 2001

The purpose of this study is to investigate the characteristics of costume and its ornaments which are appeared in the traditional wedding ceremonial customs and the wedding costumes of Eastern Slav, that is consisted of Russian, Belarusian and Ukrainian from the 19 to the early of 20C. In this study, many different procedures of wedding ceremony with a various kind of wedding costumes are shown. A wedding custom of Eastern Slav had been developed by a intermixed style of the Christianism and a paganism. The wedding custom is organized by the 3 sequential procedures; before a wedding, a wedding, after a wedding Their wedding means the union of the bride into the bridegrooms family in order to establish a new family. Therefore, the wedding costumes have been developed according to this, and the head gears have developed as a symbol which presents the meaning. A brides costume is composed of a head gear, \"Lubaha\", and \"Sarafan\" or a skirt. A bridegrooms one is made up of \"Lubaha\", and trousers. These costumes are kept through their whole life, and are worn in every important ceremonial period. Even though, the wedding customs and the wedding costumes of Russia, Belarus, and Ukrain have been developed by their general commonness, there are regionally certain differences. It is one of the important research object of the Eurasian era in the view point of culture and ethnographic, that to know the symbolism appeared in the traditional weeding ceremonial customs and the wedding costumes of Eastern Slav.ding costumes of Eastern Slav.

• The Journal of the Korea Contents Association
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• v.10 no.1
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• pp.222-229
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• 2010

I study how the deviation of strong women clashes with patriarchism and the clash is represented in the films. Women of Spirit's in 1960's narrative deals with the generational conflicts and the older's defeat, and that reflects the changes of the times. The narrative of Horse-year Bride in 1960's deals with changes of housewives' status, deviation and return of the strong-willed women, and becoming 'a wise mother and good wife'. The Daughter-in-Law Born in the Year of Horse in 1970's has two meanings - rejecting the active women and reinforcing patriarchism. The narratives of these films mean the obedience to patriarchism and the punishment women for their activity. But, these films also show the pleasure of resistance by revealing the gap and the contradiction of patriarchism.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.665-672
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• 2018

The purpose of this study is to analyze the problem of existing stop motion animation and to apply 3D printer technology and computer special effect technology applied with latest technology as a solution to solve this problem. For this purpose, we review the history of stop motion animation and confirm how the technology applied to stop motion animation through previous research. As a result, we have overcome limitations of the existing stop motion animation limited to the cline cloth in terms of expression by using 3D printer like recently released and . Furthermore, the natural phenomenon, which is the biggest limitation of stop motion animation, was able to produce a unique work of stop motion animation rather than computer special effect processing. Therefore, in the stop-motion animation, the acceptance of 3D printer technology and computer special effects technology has enabled unlimited imagination and original expression. Recent technology-based stop-motion animation is expected to provide the foundation for the continued development of the animation field in the future.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.18-34
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• 2013

This paper examines the costumes of 18th century Joseon dynasty that appears in the writings of Lee Ok(李鈺, 1760~1815). The main characteristics that can be inferred about the clothing from his writings are as follows. 1) It suppose that the color of first grade(一品) official uniform was purple. The popular color for the bride's ceremonial dress was red. 2) It was likely that only bridesmaids or married women were allowed to wear Jokduri(ceremonial coronet). 3) White clothes were only preferred in Yeongnam-udo, whereas other regions mainly wore blue, which differs from the national preference for white clothes that was prevalent in the end of the Joseon dynasty. 4) Once cotton was harvested, it only took 5 days to convert it into cotton cloth and be sold on the market. Cotton cloth was one of the most important products during the latter half of the Joseon dynasty. It was common practice in markets to sell expensive costume materials as counterfeits or fungible goods with the intent to cheat. 5) The buddhist monk's hat is various that short cylinder form(短桶帽) and jade or gold headband button(玉圈 金圈) attached shape, etc. Consequently, Lee Ok's writing is a suitable reference for researching Joseon dynasty clothing, since it includes detailed and various descriptions of everyday clothing worn by strict noblemen, which is difficult to find elsewhere.