• Journal of the Korean Home Economics Association
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• v.33 no.6
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• pp.115-136
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• 1995

The exploratory purpose of this study was to investigate the Honsu trend and to examine the relationships between the Honsu, marriage exchange resources and marital satisfaction from general group and also explore the differences in Honsu expenditure between the general group and the aimed group. the explanatory purpose of this study was to prove the social meaning of the Honsu as a 'productive exchange resources' using Emerson's exchange network theory. The data was collected from 800 men and women of general group and 72 men and women of aimed group within 5 years of marital duration through the questionnaire method. Major findings of the study from the general group were as follows : in general group 1. The bridegroom group expended more Honsu than bride group. Bridegroom's primary expenditure item was house expenditure, and bride's primary one was newlywed life goods. 2. The bridegroom's Honsu were influenced positively by parents'SES, bridegroom & bride's education level and bride's parents'SES. Bride's Honsu were influenced positively by parents' SES and bridegroom & bride's education level. 3. Bridegroom's marital satisfaction were influenced positively by bride's marriage need, bridegroom's marriage need, bride's physical attraction and bridegroom & bride's education level. Bride's marital satisfaction were influenced positively by bride's marriage need, bridegroom's physical attraction, bridegroom & bride's education level, bridegroom's marriage need, bridegroom's future possibilities and bridegroom's Honsu. 4. The social meaning of the Honsu was a 'productive exchange resource'. 1. The bridegrooms of aimed group expended more housing expenditure and also Honsu than the brides but there's no statistically significant differences in Honsu expenditure between the bridegrooms and the brides of aimed group. 2. The bridegrooms of aimed group expended about 3 times more money for wedding present for spouse and abut 1.2 times more for Honsu than the bridegrooms of general group. The bride of aimed group expended about 4.6 times more money for general group. the bride of aimed group expended abut 4.6 times more money about 4 times more for housing expenditure and about 3 times more for total Honsu than the brides of general group.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.871-886
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• 2000

The purpose of this study is to understand the culture on the Traditional Wedding of the West Gyeong Nam District. The traditional wedding was characterized that the bridegroom visited his bride's house accompanied by his honored guests(上客) and the marriage ceremony was to be held in day time, and then the bridegroom became a son-in-law and stayed with the family for a few days. The bridegroom returned to his home, leaving his bride behind. After a certain period, the bride came to her husband's home as a daughter-in-law. The Traditional Wedding costume of the bridegroom were Samo-Gwandae. The coat (outside uniform) was blue Danryeong ornamented with two cranes figured Hyong-Bae and Heukgackdae. In case Samo-Gwandae was not available, Dopo or Durumakie could be substituted and they put on shoes in this case. A bridegroom put on Mokhwa his feet and under the Samo, and he also put on Nambawie or Bokguen. He put on Dopo or Haeng-eui(行衣) or Durumaki under the blue Danryeong. The bride put on Wonsam and Chokduri or Hwagwan on her hair. In case Wonsam was not available, Chima Jogori style or imitational Wonsam, which was roughly sewed with red cloth and blue cloth contained in the Honsuham (Box of wedding treasure), could be substituted. She put on Hyang-guen to protect her body against the coldness and to hide her face.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.69-87
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• 2002

The Eastern Slavic. the mongolian and the Korean wedding ceremony proceed through those three stages :pre-wedding, and after-wedding. (n the pre-wedding stage, the marriage is arranged when the parents make a decision on a matchmaking proposal. In the main wedding, the bridegroom visits the bride, and the bride walks through the many different procedures, which represent the life and the responsibilities of married women. Expecially, the wedding ceremony is finished and culminated by making hairstyle and wearing of headgear for married woman to the bride. The wedding costume of the Eastern Slav, the Mongolian, and the Korean has been developed with their different characters of styling. The traditional costumes of the each native are worn with the addition of a splendid decorative expression. The Eastern Slavic bride wears Lubaha and Sarapan or a skirt and bridegroom's wedding costume consist with Lubaha and Shitany(trousers). The Mongolian bride wears Deel and Ozh(Ooj) the vest and bridegroom wears Deel and Hantaaz. The Eastern slavic, the mongolian and the Korean bride wears various and gorgous headgears which have reflected cultural values: their traditional views of a wedding ceremony, expected change of social roles for married people. The wedding ceremony of these 3 natives had been performed by the symbolic meaning of the union of the bride to the bridegroom's family.

• Journal of the Korean Society of Food Culture
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• v.5 no.3
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• pp.287-299
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• 1990

To analyse the royal marriage of Yi-Dynasty, the authors studied 'Kuk Hon Geong Rea', which is a historical record, published in 1749(King Yong-Jo), on the usage of marriage articles in the royal family. The essential steps or articles described in the record were as follows, Royal marriage of King : Wedding presents, black and red silks from the bridegroom's to bride's, proclamation of Queen and wedding ceremony(納采) (納徵) (冊妃) (親迎 尊雁 同牢). Royal marriage of Crown Prince : Wedding presents, black and red silks from the bridegroom's to bride's. proclamation of Crown Princess, wedding ceremony, and bride's gifts to her parents-in-law(納采) (納徵) (冊嬪) (親迎 尊雁 同牢) (朝見體). Royal marriage of Crown Princess : Wedding presents, black and red silks from the bridegroom's to bride's, wedding ceremony, bride's gifts to her parents-in-law(納采) (納徵) (尊雁 同牢) (見舅姑禮). Necessary articles for weddings were different according to royal status of the member in the royal family.

• 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.49
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• pp.137-154
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• 1999

This study was designed to unify two types -traditional and western- of wedding dress in one and to develop new wedding dress which can be used to wedding ceremony as well as Pae-Bae(Greeting) as an alternative for the modernistic utilization of traditional wedding dress. The wedding dress for a bride and bridegroom was developed to be used not only for wedding ceremony but also for engagement. The children's dress which can be worn for carrying flowers in front of a bride and a bridegroom was also developed. All six dresses two of each for a bride and a bridegroom one of each for a body and a girl were developed from the review of literature and photos to be introduced traditional wedding dress. The results were as follows: 1. The Korean characteristics in the developed dress were expressed well in the curves straight lines oblique lines and cracks. 2. The traditional symbolic meanings were expressed by using the pattern which was on traditional wedding dress. Changes from five original colors -red, blue, yellow, white, black- to pastel colors also could modernize the dress. 3. The Korean characteristics could be effectively expressed in dying techniques and piling -up by using hand-made silk and No-Bang, 4. The children's dress for a ceremony was re-established to modernized design with traditional beauty. 5. The expenses could be saved practically because the dress was developed for wedding ceremony as well as for engagement.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.111-114
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• 2001

• Journal of the Korean Home Economics Association
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• v.40 no.11
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• pp.141-156
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• 2002

This study is about the wedding culture of Seoul and Kyungsangdo. This paper is a qualitative study that is based on interviews. As a result of this study, it became clear that before the industrialization of South Korea, there were different characteristics of wedding culture in each region. However, the unique characteristics of wedding customs in each region have been degenerated or exterminated, in tandem with the influx of customs from other regions, due to the dramatic urbanization of South Korea, and the development of transport and communication that appeared in the process of modernization. Furthermore, wedding customs were transformed from ceremonies based on a regional and kin-based community into those that were no more than mere events, which was derived from the industrialization and urbanization of Korea.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.105-116
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• 2000

In the middle of the 20th century the traditional wedding costumes in Chungchung district were very similar to those of high officials. A bridegroom out on blue DanRyoung, Samo, official belt, buckskin and two cranes figured Hyoongbae which high-ranking officials wore, A bride put green Wonsam and Chonkduri on her hair, The color and cloth of Chogori, Chima and underwear showed wedding practice in those days on which a daughter-in-law should endure a hard married life. It reflects the Confucian ideas and a patriarch society. This paper studies on the substantive reason they wore the traditional wedding costumes in Chungchung district is not thoroughly considered in a folkloristic respect. The traditional wedding culture that a bridegroom and a bride wore a formal suit can be a good instance which showed us their desire for social status of the upper class. The wedding practices were performed in order to get rid of an omen and keep a good their fortune.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.11-28
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• 2014

Chinyoung(親迎) is one of the detailed procedures of a wedding ceremony, of which the bridegroom visits the bride's home to receive and bring her to his home. And, Procession Illustration (班次圖) is a type of drawing that shows how people of various social classes are arranged in their predetermined positions in a royal ceremony. Thus, 'Chinyoung Procession Illustration(親迎班次圖)' refers to the drawing of the march in the course of Joseon's royal wedding ceremony, in which the bridegroom receives and brings the bride to his home. This paper aims to reconstruct the Chinyoung Procession Illustration for a princess as an image, which has never been done. There are no drawings or pictures of the princesses' Chinyoung Procession, but only written records. Thus, we completed the Procession Illustration by dressing the participants in accordance with their social classes and arranging them in the march. The arrangements were based on historical records of social classes, positions, number, and costumes. As for the princesses' weddings in the late Joseon period, a total of 18 wedding records remain. We selected Princess Bok-On's (福溫公主: 1818~1832) wedding as the subject of reconstruction as it had the greatest number of participants. In addition, due to the great number of participants, this study limits its focus to the female participants, with the male participants to be examined in future research. The result confirmed that the number of participants in Princess Bok-On's Chinyoung Procession was 184, including the bride and bridegroom, and the number of female participants was 26 in total, including the princess and women placed around her. The women participants wore Rip(笠), Neoul(羅兀), Jeonmo(氈帽), Garima(加里磨), Noeui(露衣), Hwaleui(豁衣), Dangeui(唐衣), Jeogori(赤古里), Chima(赤亇), Malgun(袜裙), Daedae(大帶), Onhye(溫鞋), Dokhye(禿鞋).