• Journal of the Korean Society of Costume
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• v.1
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• pp.21-48
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• 1977

Ka Rae Do Gam Eui Gue(嘉禮都監儀軌) is records of wedding ceremonies of empresses and crown princesses in Yi Dymasty. This recors shows the sorts of court costume and the required quantity of dress material. And illustrations of ceremonial procedure in the Eui Gue give us an obvious picture of those clad in the costume. This study aims at analysing the secords of female costume and inuuiring into the transitional process of the conrt costume.

• The Journal of the Korea Contents Association
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• v.11 no.4
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• pp.186-195
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• 2011

Historically, Korea has made and weaved beautiful jewelry based on delicate metal craft technique. Especially jewelries in Chosun dynasty among these jewelry shows practicality, fanciness and social symbolism at the same time, which is one of representative cultural origins to express characteristics of Korean culture. Since jewelry of imperial princess YEONG, an object of a study herein, was made for a court ceremony although it is an artifact of the end of Chosun dynasty after the time of enlightenment, it is expected be made based on traditional shape and standard in accordance with strictly respected court dress code in Chosun dynasty. It is also an important data of research for a court style and system as well as its artistry in its diversity of type, preservation condition similar to original form and its producers who are master craftsman parted in Sang-Uiwon (an institute in charge of dress and accessaries of court) at the end of dynasty. Thus, a study herein aims to research formatively valuable 11 selected jewelries among jewelries of imperial princess YEONG used at the end of Chosun dynasty, and search for industrial application method with digitalization of the shape and design and preservation of original form of traditional culture. Moreover, in accordance with proposing design data through review of traditional women jewelry, it aims to suggest possibility of application into modern jewelry design and cultural industry.

• Journal of the Korean Society of Costume
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• v.26
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• pp.221-232
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• 1995

It was aimed to study the costume of Koryo dynasty based upon the one hundred and thirty four pictures of the engraved painting on the wood. The costume to study were made about 400 years during the King Mok-jong(1006) to the forth year of the king Wu based upon the Avatamaka Sutra and Pulsul-Yaesu 가) Men's wear 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots. 2. Clothes : 1) King wore an uniform of Mien-lu Kuan system. 2) The Crown Prince and high rank officials wore Yuan-yu-Kuan Won-jung-po-ju-Kuan, Sa-bang-Kuan, Yun-wha-Kuan and montain shape Po-ju-Kuan as a court dress. 3) Officials put on the Pok-du as an official dress and Won-jung-ip-mo, Kun and Mo as an everyday dress, the monk put on the diamond shape Do-kuan and Du-kun and the soldier put on the Helmet. Costume system of man was as follows ; They wore exchanged shape collar, big sleeve jacket, long skirt, apron, hanging precious stone big belt as a Mien-pok. 4) The soldiers wore helmet, Keun-Kap, Scarf, Pee-Bak, Hung-Kap, Pok-Kap, Yang-Dang-Kap, We-Yo-Kap, Kum-Kap, and caries arms. Lower-level officials wore Pe-Bal, Kun-Mo, gae, won-leung, very small sleve jacket, a long coat reaching up to the knee length, slacks, belt, loin cloth and apron. 5) Children's bind their hair up angle shape and wore a half long jacket raching up to the hip and slacks. 나) Women's wear; 1. hair style and hair dress; 1) High rank women's hair style was very extravaganceful. They made their hair top knot (one, two, or more knots) and decoraed precious stone, pan shape head dress, wheel shape head dress, and flower shape precious stone decorated head dress. 2. Clothes ; 1) High rank ladi's wore Kun-Kyun attached jacket, and jacket sleeves decorated pleats, and pleats decorated long skirt, apron, back apron, knot belt, scarf, this type is the same with Dang Dynasty, five dynasty of china, Song, Kum, Won, Myung Dynasty, and our costume of Poe-hae, and Shilla Dyansty. 2) Official ladies wore exchange shape collor, big sleeve jacket, long pleats skirt, apron, and back apron, scarf. 3) Women wore top knot hair style and decorated by ribbons. Shoulder scarf attached small sleeve jacket and wore reaching up to the knee length. Side seam is open and under wear was long skirt. 4) High knot hair style and exchanged shape collor jacket, under wear wore long skirt. They wore under skirts and the jackets. 5) High knot hair style, exchange shape collor jacket reaching up to the knee length small sleeve under wear wore long skirt, belt. 6) High knot hair style, big sleeve jacket and long skirt. 7) Foot wear wore boots, mokasin type shoes, sandal.

• Journal of the Korean Society of Costume
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• v.22
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• pp.205-224
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• 1994

It was aimed to study the costume of Koryo dynasty based upon the thirty pictures of Bud-dha to hang on the wall among the existing Buddist paintings. The costume to study were made about 64 years during the King Chung-yol(1286) to the King Chung-jong(1350) which style was mostly related in Won Dynasty. 가) Men's wear ; 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan Kun and Mo. The young boys binds his hair up one, two, and three knot-s, and tied up with a hair ribbon, A kinds of Kuan-mo were Mine-lu-kuan Yuan-yu-kuan, Nong-kuan, Hae-chi-kuan Pok-du Yun-wha-kuan Yip-mo- and Tu-ku(Helmeto) 2. clothes ; 1) Colour of Koryo King's Mien-ku Kuan costume was not agree with blue and reddish black colour which was used in Yo, Song, Kum and Won Dynasty, however black and greenhish blue colour was agreed with. 2) The king wore T'ung-t'ien-kuan(Yuan-yu-kuan) and the government officials wore Chin-hien-kuan Hae-chi-kuan and Nong-kuan as a court dress. In general the king and the Crown Prince wore a hats which was used in T'ung-t'ien system however sometimes they wore small hats which was cited in literature. 3) Gate guard and upper garment wore colourful costume figured gold colour pattern which was distin-gtive costume system of Koryo. 4) A monk wore big sleeve long skirt big sleeve long jacket long skirt and shoulder scar-f full shoulder scarf or right hand shoulder opened scarf. 5) The Soldiers wore helmet shoulder or scarf pee-back hung-kap, pok-kap, yang-dan-g-kap we-yu-kap kun-kap, and boots and they carried arms. 6) The young boys wore scarf, loin cloth, long skirt, belt neckless, wan-silk, boots and foots wear and wristless. 나) Women's wear ; 1. Hair style and hairs and tied up with a hair ribbon and wore precious ston decorated hair dress wheel shape hair dress pan shaped head dress handkerchif covered hair dress decorated precious stone hair pin silk chippon made of head dress muf-fler shaped hairdress. Boots mocasin hae lee, suk and sandle wored as a shoes depends on the classes. They wore neckless, earing wres-tless and wan-pu-sik. 2. Closthe 1) High rank lade's wore un-kyun attached jacket and jacket sleeves decorated pleats and pleats decorated long skirt apron back apron knot belt, scarf this type is the same with Dang Dynasty five dynasty of china Song, Kum Won, Myung Dynasty and our cos-tume of Poe-hae, and Shilla Dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.11 no.2 s.24
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• pp.37-55
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• 1987

Pasul (Herein after referred to Korean-styled Pasul) to cover up the secrets, which has originated from Bool-an original mode of clothes is to put around a belt with a kind of towel. With the development of culture, it has been handed down the parts of ornamental and symbolic functions, losted its particular and original one. In general, we cannot exactly show when the Pasul has been used as a ritual dress, but, dare to maintain in this thesis, which has been used in Koguryu era. This thesis is summarized as follows: 1. The Bool, which is the first dress of all has its origin in the prehistory, and gradually has developed to a ceremonial dress with the help of man's intelligence. 2. Korean-styled Pasul has continuously been handed down from generation to generation (to adding up, from Koguryu era to Yi dynasty). Today, the color of the Pasul is known as a pink one, but I, herein, would like to refer that king Kojong in Yi dynasty had on a yellow-colored Pasul. 3. With becoming to be a form of ceremonial dress, the Bool has become to be complicated in style. For example, in the Koguryu era, the style is in the form of 'U,' and in Koryu era, it is the echelon formation tinting a pink color and weaving a mountain and flare shaped designs, and its dimension, the upper is one ja (a ja means a unit of length, 0.33 M), the lower, two ja, its length three ja. The Bool of Yi dynasty tints a pink color, and weaves a seaweeds, rices, axes and shaped designs. The Pasul which King Kojong in Yi dynasty put in, was a yellow-colored one weaving dragons and fire shaped design. 4. The Pasul is a ceremonial dress used a ritual or court dress. The purposes of wearing it are to distinguish the upper from the lower classes, to make them abide by regulations, and to respect courtesy. Accordingly, the Pasul. as the dress for special occassions does make us review the old and learn the new. 5. The reason that Pasul has been handed down are: 1) richness and fecundity. 2) symbol mark to represent classicalism. 3) to symbolize the authority by putting on it, for it is necessary to distinguish the upper from the lower classes along with the class consciousness in society. 6. On the basis of the study, the Pasul transition is to be handed down the function of the ornament and symbol. after losted its original functions, with the development of culture.

• The Research Journal of the Costume Culture
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• v.10 no.3
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• pp.283-292
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• 2002

This study is to examine the costume and features in Asuka period and the results are as follows. Asuka period is the time that the country loader positively imported the continental civilization, founded a new country organization in political society and accepted Buddhism and exerted his best passion for its thriving. As the result of examining the costume and features of Asuka period when the requirement for accepting the foreign culture was met via the present costume regulation and relics material, it was found that the costume had a considerable difference between of the ruling classes with government official and noble as the center and the common people. As for the costume of the ruling-classed official and noble, Korean and Chinese costume regulation was introduced, court dress, ceremonial dress, and uniform were dressed. The composition of costume with introduction of new clothes including Wio, Baedang, Seup, Pil, Kyongsang, for the ruling classes was diversified as well. As the result of looking the clothes for the present ruling classes via the existing and the contemporary relics, it was found that the clothes consisted of Eui and Gon or Eui and Sang style in principle and Po with Banryung or Sooryung was worn over what. However, for the common people, mainly man wore Eui and Gon and woman Eui and Sang, which was the traditional costume style in the ancient tomb days.

• Journal of the Korean Society of Costume
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• v.28
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• pp.47-64
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• 1996

This paper is a study on the expression of Clothing and Textiles recorded in $\ulcorner Makuranosorsi(枕草子) \lrcorner$ This book was written by a Japanese servant in the Royal Court about the year 10000. In this book many kinds of clothing ornament color and materials were mentioned. The discoveries of this paper were as follows. 1. There were 85 different kinds of name In detail there were 46 Clothing and Accessories 32 Clors 11 Materials Patterns the method of Dyeing. 2. All the Clothing and Textiles in Makur-anosorsi were reflections of the reality of that times. 3. From ancient times japanse Costume was much influenced by Korea. but around the 7th century the influence increased. 4. Almost all clothing and Accessories used in Japan in the 10th century had been pre-viosly used in neighboring countries Korea and China But after they were imported to japan some of them were changed to japans hybrids especially in name and shape. 5. In Japan Clothing Colors were used in various ways sometimes colors coordinated by over lapping dress and othertimes the colors were weaved together Namely the width and length of these colorful fibres are also signifi-cant meaning. This meas that the Japanese was much more interested in color than other countries and this also proves Clothing Colors were very developed in japan by the 10th cen-tury. 6. The Materials discovered in this book were almost all silk This is the reason why $\ulcorner Makuranosorsi \lrcorner$ was the expression of the Royal Court.

• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.35-42
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• 1980

Gan Tack is meetings for marriage in Royal Families only. There are three selection courses before the final decision of one person, and it done with a view to finding the best person in the country. On the history of costume, it was greatly changed in Yungjo's period. In this thesis, I studied the costumes of king Yungjo, Jungsungwanghu who is the consort of Yungjo, Inwonwanghu who is the consort of the late king, Sunhigung who is a seraglio of Yungjo, Ongjus who are King's daughters by seraglios, Sanggungs who are court ladies, Yumo who is a wet nurse, and etc., for Gan Tack with Hyaegyunggung-Hong who is chosen the consort of Prince, and research the Dresses, which are Jugori, Chima, Dangui, Gonryongpo, and Wonsam. The girls who attend Gan Tack dress up Jugori whose color is yellow, Chima whose color is red, and Dangui whose color is green. King wears in Gonryongpo, the Consorts in Wonsam, and the court ladies and Ongjus in Dangui, of course, there are differences of the colors and ornaments on the ranks. Finally, I hope this thesis will be of great help to the costume of historical dramas.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.162-175
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• 2014

This study focuses on Korea's traditional-style soryebok, in terms of its foundation, progression, and structural features. The research methods employed here include literature analyses of relevant laws and an official daily gazette, and practical analyses of artifacts and photographic documents. Especially, the artifacts of heukdannyeong(black uniform for officials with a round neck) in the form of chaksu(tight sleeves) were examined, which was regulated as soryebok in Eulmiuijegaehyeok. The term "soryebok" firstly appeared in "使和記略"(Sahwagiryak) written by Park Yeong-hyo, a foreign envoy to Japan, in 1882. Emperor's invitation written in the book asked him to wear daeryebok at the ritual and soryebok to the banquet. Soryebok was not adopted in Gapshinuijegaehyeok in 1884. However, several illustrated documents of the modern banquets at that time reveal that sabok, which was included in the 1884 reform, was used as soryebok. According to the Gapouijegaehyeok in December 1894, courtiers were required to wear heukdannyeong as daeryebok, and add juui(topcoat) and dapho(sleeveless coat) as tongsangyebok when they visited the royal palace. In Joseon's first daeryebok system, the term "tongsangyebok" that had been used in Japan was employed before soryebok was used. According to Eulmiuijegaehyeok in August 1895, the term "soryebok" originated from a costume ritual for courtiers of the Joseon Dynasty. Soryebok featured heokbannyeong chaksupo, samo (winged hat for officials), sokdae(belt), and hwaja (shoes for officials). There are around 24 artifact pieces of heukdannyeong in the form of chaksu(tight sleeves) in the following locations: garments of Prince Heungwangun and Wansungun, the court artifacts, Korea University Museum, Yun Ung-ryeol's family housed at Yonsei University, and Kyungwoon Museum. Artifacts have mu(godet) pulled back and a topcoat-like triangular mu. In conclusion, heukdannyeong, traditional-style soryebok has significance in the history of modern dress because streamlined traditional clothes and newly introduced Western dress system were able to be combined.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.131-141
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• 2005

The purpose of this study is to correctly understand the shapes and transformation of costumes of Ching's and Mongolian. Mongolian traditional costumes are trousers and jacket, with Deel(袍) and Terlig(帖裡) pleated in the waistline, and knee-covering narrow-sleeved long dress for men and women alike. It was designed for adapting to horse riding activities and cold steppe climate. Similarity between Ching's and Mongolian nomadic costumes was used as a means of unity by Ching. Transformation of Mongolian nomadic costumes are further divided into three kinds; Ching's or Russian's details applied to Mongolian nomadic costumes(Taekeum(大襟), Majesu(馬蹄袖), white choker), Ching's court costume imported as it is for the political purpose(Kijang(기장)), resistance against foreign countries and the spirit of nomadic people and independence reflected in Mongol costumes('Teregur ushi', 'Correct bosom'). Specially, Nomadic symbols constitute Mongolian spiritual world and clothing habits, especially evident in ladies' dresses.