• Title/Summary/Keyword: chaofu

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원대자묘 벽화 주인공 복식에 관한 연구 - 고구려 복식과의 관련성을 중심으로 -

  • 정완진
    • Journal of the Korean Society of Costume
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    • v.51 no.5
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    • pp.95-111
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    • 2001
  • The purpose of this study is to analyze the costumes of the master in Yuantaizi(원대자) tumulus murals and to examine the relation to the costumes of Koguryo(고구려). The Master appeared in Yuantaizi Tumulus Murals wear Wuguan(무관), Pingshangze(평상장) and Pao(포) These costumes were used as chaofu(조복) by Han race(한족) at that time. It is believed that Yuantaizi tumulus belongs to a tomb of Qian Yan(전연). So we can conclude that Qian Yan accepted costume systems of Han race. And similar costumes appear in Tumulus Murals of Koguryo built around Pyungyang(평양) and Anak(안악) in 4∼5 century. Especially the master's costumes of Anak Tomb No.3(안악3호분) are nearly the same as Yuantaizi's. Maybe it is closely related to the fact that the master of Anak Tomb No.3 is Dongsu (동수) who defected from Qian Yan.

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Development of the Fashion Design of the Qing Dynasty's Clothing Style Using the Attribute Listing Technique (속성열거법을 활용한 청나라 복식스타일의 패션디자인 개발)

  • Liu, Yining;Suh, Seunghee
    • Journal of Fashion Business
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    • v.25 no.3
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    • pp.126-143
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    • 2021
  • The purpose of this study is to analyze the characteristics and design elements of the Qing dynasty costume style, and accordingly, develop a new fashion design work incorporating modern aesthetics by using the attribute listing technique. A creative idea that drew out various ideas by considering the properties and characteristics of the object in detail through applying the attribute listing technique, and a modern fashion design in the style of Qing dynasty were developed. In the design development process, first, the theme was set as 'Developing a modern fashion design using design elements of Qing dynasty costume'. Second, design elements and components focusing on design details of Qing dynasty costumes were organized. Third, design ideas that replaced or modified design elements for each type of Qing dynasty costume were presented, and the design was developed by combining and modifying these ideas. Fourth, nine designs were selected through a design evaluation process by a group of experts to select a design for the Qing dynasty costume style. Fifth, seven final designs were selected through revisions to compose a collection with unity and balance. Sixth, colour and material were decided for the selected design, and the work was completed through pattern making, sewing, and fitting process. These seven works were designed with motifs of the Qing dynasty's slit, liling, yuanling, hujian, matixiu, manxiu, shuangmanxiu, zhaixiu, pipajin, yourengquejin, yikouzhong, lingyi, yunjian, magua, mamianqun, xingshang, taoku, chaofu, xingfugua, and pao.