• Journal of the Korean Society of Clothing and Textiles
• /
• v.24 no.2
• /
• pp.226-236
• /
• 2000

The mutual relation dynamics between the chulik and the Po for man in the period of chosun dynasty. The objectives of this study are to find out the mutual relation between the chulik and the Po for man-symeui, danryeong, changeui, jikryeong-, te change of chulik, and the ideas that made this change. Conclusions are decribed as followes: 1. The pattern of chulik and symeui is same, and they consist of bodice and skirt's length of the chulik was 1 : 1.3∼2 and it is effected by symeui. And symeui was effected by pratical structure of the chulik. 2. The functions of the chulik were the underwear of danryeong and the upperwear as military uniform. And then the length of chulik was shorter than danryeong in the early period of shosun dynasty. The sleeves were changed as large as danryeong in the late period of chosun dynasty. It is assumed that the changes were to be a functional underwear and to appear authority as upperwear. 3. Chulik as the underwear was hardly worm in the 17th centuries, and changeui was widely enjoyed instead of it. The reason of this change is that the pragmatism was emphasied in that period. 4. Chulik was widly worm instead of court dress, until the mid of 17th century after war. It was effected by outer factor of the war. And jikryeong was widly worm instead of chulik in the late period of chosun dynasty. It shows that military officers wanted to appear authority.

• The Research Journal of the Costume Culture
• /
• v.7 no.2
• /
• pp.242-256
• /
• 1999

A Study on the construction of Chulik in the early 16th century based on the shrouds from the excavated grave of Kim, Heum-Jo(1461∼1528) is reported in this paper. This paper first reviews the general construction methodology found in the shrouds from other graves in early 16th century revealed from a report on Chulik from the excavated grave of Kim, Heumjo. This paper finds that there exist at least three different Chulik forms according to the ratios between upper portion and lower portion in Chulik. The upper portion to the lower portion ratio grows with time. Among the three forms, this Chulik of interest falls in the first one of the three forms. This new finding of the chronological evidence for the first category of the three forms provides us the latest chronology for the first category, which is up to the year 1567. This paper also shows that the second and the third categories of Chulik in early Chosun Dynasty lasted until 1580\`s and until 1590\`s, respectively. Several remarks on construction methodology found in the Chulik of interest are also reported in this paper.

• The Research Journal of the Costume Culture
• /
• v.9 no.2
• /
• pp.207-222
• /
• 2001

This study investigates the chulik of Soo Buen's, Heymjo Kim's, Sooncheon Kim's grave in early Chosun Dynasty. The purpose of this study is to revise concretely the relation to Mongolian costume, Zilsun and Chulik, of the distintion of sex to wearer. This paper reviews the general construction form the excavated graves of them. This paper finds that there exist different Chulik forms according to the ratios between upper portion and lower portion in Early Chosun Dynasty. Eventhough they were a kind of Mongolian costume, in relation to Zilsun(質孫) and Chulik(帖 ) they are different form each other. They have a lot of pleats coat( 積袍), but they are different clothes, and also, even if Chulik were excavated in womens grave, because their husbands presented them to their wives, Chuliks were not women's, and they were used for men.

• The Research Journal of the Costume Culture
• /
• v.17 no.6
• /
• pp.1112-1128
• /
• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• Journal of the Korean Society of Costume
• /
• v.50 no.6
• /
• pp.5-20
• /
• 2000

This paper aims at analysing the formative character of the Korean Shaman's Costume in the area of Hong -Sung, Choong -Nam. Korean shamanism has been the core of the traditional folk religions. so that it has had a great effect upon the formation of Korean's mind and custom. And its magical power remains unabated even today. Modern shamanism in the Hong-Sung area has been changed under the influence of the shamanism in the Seoul-Koungki area. Therefore modern shaman's costume in the Hong-Sung area is similar to shaman's costume in the Seoul-Koungki area. Modern shaman's costume in the Hong-Sung area has only 5 or 6 kinds. These consist of Pulsajangsam, Chulik, Kugunbok, Mongduri and Wonsam. But there are some differences between modern shaman's costume and traditional costume in the formative character, Modern shaman's costume in the Hong-Sung area has became simpler in the formative character and more gorgeous in color or adornment than that of the traditional costume.

• Journal of the Korean Society of Costume
• /
• v.35
• /
• pp.265-279
• /
• 1997

Through eight folding screens for Chac Rae and ban Cha Do we have learned the costumes of people who participate in Chac Rae ceremonty being accompanied by social positions. Firstly the costumes of crown prince can be classified in two parts. One is costumes of Chac Rae befor Kwan Rae the other is costumes of Chac Rae after Kwan Rae Also we know the costumes of Chac Rae before kwan Rae is consisted of SSangdonggae Gong-jungchak Chilchangbok Mean-while the crown prince wore Myunbok at chac rae after Kwan rae. Second Chakbongdo tell us various types of Youngbok by blue-black and red colored chulik Third we can see Uijangsu who wore Sangbok on Chakbongdo and know their brilliant costume colors on ban Cha Do through Hongmo on Chunguei Chungmo on honguei Hongmo on Honguei violet-Lip on honguei mean-while Kyokun wears Hongmo on Honguei and hoimo on Hoiuei. Forth regarding the costume of Byulgam Chakbongdo appears Chogun on Hongpo belting blue belt wearing blackboots Meantime ban Cha Do shows Chogun on Hongpo wearing shoes. As reviewed above we know various color and types of costumes through Chakbongdo & Ban Cha Do on Crown prince Chacraedogam and would lide to deepen Chac Rae of crown prince including the costumes of Chac Rae of the crown princess the eldest son of the crown price the eldest brother of the king.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.20 no.1
• /
• pp.125-136
• /
• 2018

This study classified and analyzed the assignments for the Hanbok skill contests between 1998 and 2017 so that the Korean hanbok can be properly passed down. this study proposes a variety of useful values for the Hanbok culture industry by providing basic data on various Hanbok making techniques to the Hanbok artisan. The results of the analysis of 39 assignments for the Hanbok skill contest are as follows. Firstly, The 20 assignments presented in the Local Skills Competitions consisted of 13 tasks (65%) in formal wear and 7 tasks (35%) in casual wear. Formal wear is mainly comprised of men's and children's wear (85.7%). There are Pungcha Baji, Sagusam, Kkachi Durumagi, Jeonbok & Bokgeon, Durumagi, and others on the formal wear of men'schildren's wear. In casual wear, 66.7% of women's wear such as scarves, skirts, jeogori, Hwejang Jeogori & chima were on the list of assignments. Secondly, All of the 19 assignments presented in the National Skills Competitions were in adult suits. Thirteen tasks (68.4%) were in formal wear and 6 tasks (31.6%) were in casual wear. Nine out of the 13 formal wear tasks (69.2%) were men's clothes. In 6 assignments of the casual wear, men's and women's clothes were presented three times each. Formal wear that had many assignments was the men's Chulik, which was presented three times in 2006, 2008 and 2016. Thirdly, Eighteen (90%) of the 20 assignments presented at the Local Skills Competitions were for lined clothes, and the remaining 2 (10%) were for unlined clothes. Eleven tasks (57.9%) out of the 19 assignments presented in the National Skills Competitions were for lined clothes, and 8 tasks (42.1%) were for unlined clothes.

• The International Journal of Costume Culture
• /
• v.4 no.2
• /
• pp.94-114
• /
• 2001

Men's Po of (he Chosun period became simple and stable in shape as the nation moved from its early to late period. Re lines of the external structure of the clothing shows the beauty of the garment. Re lines generally derive their beauty from curved lines, gradually replacing the straight lines of the earlier part of the Chosun period. The linear beauty of the external structure of men's Po is found in the outline and silhouette. Generally in the early Chosun period it could be seen that H-shaped silhouettes, narrowed strips and flexible drapes descending to the ankles were still in use from the period of the Koryo dynasty And in the 17th century, or the mid Chosun period, considerable numbers of H-shaped drapes with wide sleeves and side Moo were seen. At the beginning of the 18th century, voluminous A-shaped outlines appeared. From the late Chosun period through the mid and late Chosun period, or the 18th and 19th centuries, the from silhouette changed from voluminous A-shapes to narrower H-shapes. The beauty of the lines of the external structure of men's Po is due to its harmonising with the straight body lines of men. The straight Git of the early Chosun period harmonises beautifully with the straight Baerae and Doryun and the curved Git of the later Chosun period similarly harmonises with the curved Baerae and Doryun lines. The shape of men's Po has a balance betweon right and left, centering around the Sup lines. The sleeves have the balanced beauty of vertical lines. Git and Sup have beauty through the balance of oblique and straight lines while Baerae and Doryun have similar balances through curves. Jikrung, Chulik, Dapho's side Moo, coat strings, Doryun and sleeves drape, all of which are manufactured by means of plane cutting, Pow together beautifully. Re Git, Sup, and the silhouette and drape of men's Po, which are also manufactured through plane cutting, make the wearer look tall and at the same time express the beauty of mature manhood. The linear beauty shown in men's Po during the Chosun Period have beauty through harmonizing with straight and curved lines, beauty balance, beauty of flow, beutity of emphasis and beauty of optical illusion.