• The Research Journal of the Costume Culture
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• v.12 no.1
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• pp.73-89
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• 2004

The following is a summary of comparative study on costumes between 『Cheng-Hoe-Jeon-Do』 and 『Chen-De-dang-an』 in Gun-Ryung 41st, 42nd and 43rd yew to find out costume situation actually worn by Emperor Gun-Ryung in Qing dynasty. In Gun-Ryung 41st year, Emperor's costumes showed a sign of royal tour robes. In 42nd year, a phase of mourning robe system came out and a plain side of costumes was shown owing to the mourning. In 43rd year, it showed costume situation worn by Emperor in peaceful year without any particular event. Velvet, material for traveling crown was used in a short time before and after the change of the season besides royal tour and this can be understood as a well-timed and reasonable selection of material. Eventhough robe material, Jik-kyung-Ji-chack-sa(a kind of silk) had been used for summer robes since Gun-Ryung 42nd you. Memorial costumes followed Emperor's court costume system I in 『Cheng-Hoe-Jeon-Do』 and court belt I or II as memorial suit belt was used for the memorial costume of Emperor Gun-Ryung and they properly applied of the costume system in 『Cheng-Hoe-Jeon-Do』 for coats.

• Journal of the Korean Society of Costume
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• v.55 no.2 s.92
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• pp.70-81
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• 2005

This paper researches the system of official uniforms and characteristics of the system based on Ming-Shi(明史), Da-Ming-Hui-Dian(大明會典) and Hong-Wu-Li-Zhi(洪武禮制) in the emperor Hong-wu(洪武帝) of Ming dynasty(明). The system could be divided in to three terms, i.e., the early (initial), the middle and the end (last) terms. In the first(1368) & the third year of the emperor's reign (1370) the system of official uniforms was simple f9r his people not to be luxurious and for revived the system of official uniforms of the Han dynasty(漢) and annulled the system of the Yuan dynasty(元), be-cause the country was not stable yet. During the middle term of Hong-wu, the 14th (1381) to 16th (1383) year of his reign, people attained luxurious lives and developed a strong sense of rank as the country became more stable. As a result, the system became more complicated when the emperor used the costumes to represent political and social ranking. In the end of the emperor's age, the 23rd (1390) to 26th (1393), it reveals his strong intention to establish a system of costumes that separated the ruler from the ruled. He wanted to strengthen the power of Emperor for his little grandson, Jian-wen(建文帝), who would succeed to the throne and would have absolute power. These changes became fundamental to the Ming dynasty's costume system and the Ming dynasty kept them for long time.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.2
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• pp.233-252
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• 2021

The Gwan ceremony (冠禮) is a coming-of-age ceremony that takes place through traditional Gwan (冠: the hat) and clothes in the traditional era. The rite is performed by wearing hats and clothes three consecutive times (三加禮). It was an important rite which meant that underage children were formally recognized as members of society. This study examined costumes of people who participated in various coming-of-age ceremony rites in the Ming dynasty imperial court of China. For the research data, this study mainly used authentic chronicles (正史), codes of law and books on Ming dynasty rituals. This study examined the costumes used in the coming-of-age ceremony for the emperor, Prince Imperial, Emperor's eldest grandson, and emperor's sons. The results of this study were divided into an analysis of the document structure, institutional changes by time, characteristics of costumes, and characteristics of the rite. Of particular note in their ceremony, the emperor is presupposed to be a 'human already full-equipped with virtue', which means that the costume is worn only once. It is a case in which the emperor's absolute identity is revealed through the rite and costume.

• The Research Journal of the Costume Culture
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• v.4 no.2
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• pp.207-217
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• 1996

The founding of ching costume system starts from the rule issued in second year of Te-chong reign that the clothing of Manchu people is prohibited to be chinesized. It has undergone many revisions and is officially established in the 37th year of Chien-lung reign. This study is Emperor's costumes during the year in Chien-lung reign. The results are as follows: Emperor's costumes go to the travel are Chi-fu hat and Hsing-fu. Sea-dragon hat changes on otter skin or beaver hat and Ching-rong and ching-ni hat changes velvet hat. Light green informal wear is to be worn once a year. Name of sacrificial robes does not exist in Ching-hui-dien-tu but it take the place of Chao-fu I and Chao-dai II in Chuan-dai-dang-an. Sacrificial robes wear with indigo boots and the other cases wear blue boots and shoes and socks. The shape on ornaments in belt of sacrificial robes is tetragon style.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.87-101
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• 2013

This paper researches the system of the official's gongbok(公服) during the reign of emperor Hongwu(洪武帝) in the Ming dynasty, and it is based on DaMingLing(大明令), DaMingJili(大明集禮), HongwuLizhi(洪武禮制), ZhusiZhizhang(諸司職掌), DaMingHuidian(大明 會典), MingTaizuShilu(明太祖實錄), and MingShi(明史). Official's gongbok is consisted of clothes, belt(帶), bokdu, scepter(笏), and black shoes. The system of official's gongbok wa schanged through three stages. First, the system of the Yuan dynasty(元代) was maintained in January, 1368, which was the first year of the emperor's reign. Second, the gongbok system was established in November, 1368. The system stated that the clothes had to be red-colored(赤色) regardless of rank and the belt was divided into okdai(玉帶), seodai (犀帶), gumdai(金帶), and kwangsoeundai (光素銀帶). Third, the system was revised in June, 1391, which was the 24th year of his reign. According to the rank, the clothing colors were divided into scarlet(緋色), blue(靑色), and green(綠色). The belt was divided into okdai, seodai, gumdai, and ogaggai(烏角帶). 'Hongmu26nyunjung(洪武26年定)' recorded on the Wanli's edition(萬曆本) of the DaMingHuidian has the meaning of ZhusiZhizhang regulations.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1112-1128
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• 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 Clothing and Textiles
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• v.26 no.3_4
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• pp.454-463
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• 2002

The purpose of this thesis is to understand the role and meaning of costumes in feudal dynasties through Ideology, Content, and Consequence of Costume Policy of Qing. And this is to investigate the Ideology of Costume Policy as the first strep. The ideology of the costume policy of Qing dynasty stemmed from the ethnic identity. Huang-tai-ji(황태극) was not only the emperor, but the Qing's principle costume policymaker. He thought that the Man people's horse-riding and archery was the basis of their nation and their costume was vital to these abilities. Therefore if thar changed to the large sleeve costume of the Han people, they would lose their ethnicity. Hurting-tai-ju succeeding emperors continued the ideolo효 of retaining ethnicity.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.5-24
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• 2000

The results from the consideration of this are as follows. 1. Silla Kingdom has been the name of chronolongical era, from king Bubhung 2nd years to Jinduck 4 years. 2. From Dang dynasty has been received to King of Silla, first class-third class of Dang's office and rank. 3. After unification of Silla Kingdom, Dang dynasty's envoy and missionary and many commercial men and artist come froze Dang to Silla, threfore, influenced their costume habbits and behabiers from royal families costumes and common peaples costume, without concern of that one's social position. 4. Ancient Silla Kingdom performed a religious service an emperor's ceremony, but after unification, performed King's level a religious service, therefor King's ceremonial costumes are Dang dynasty's king's level Myunryukwanbok.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.33-45
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• 1999

Examine the dress which the Emperor actually wore in Gun-ryung 42nd year of Ching dynasty, comparison of 《Cheong-hoi-jeon-do》 with the Emperors year-round dress in Gun-ryung the 41st year was made and summarize the result as follows. It was used almost similar to the code of 《Cheong-hoi-jeon-do》. Though the materials and colors were more diverse than those of the previous year, it seems that actual use of material was plain under the influence of mourning. All the materials for summer hat were rattans. And velvet was the material for the patrol hat, but actually used before they change to summer material after fur use was over according to the season, which can be said as more reasonable use than the code. Materials of coat were more diverse than the precious year and also they put on ko-hemp cloth which was not found in the previous year. This can be understood that they expressed their guilt-consciousness to the dead as dress material by wearing ko-hemp cloth during the summer after periiod of mourning was over. And they put on the ko-hemp, the Emperors ordinary dress, much longer time than the previous year and this seems to be coherent to the meaning of wearing ko-hemp cloth. They followed the Emperor\`s Jo-bok1 one for the Kae-bok which were not systematized and Jae-dae used Jo-dae2 as the Emperor\`s Jae-bok in 42nd year. This was the same as the Jae-bok code of the previous year. Jo-ju did not follow the code of 《Cheong-hoi-jeon-do》, but made a wide variety. For the belt, the same as 41st year, it marked the gem decoration style on the Jae-bok belt as a square type and mourning dress by using the round type. The Emperors dress in 41nd year showed one side of the patrol clothes by the patrol of San-dong. On the contrary, it was also the chance to see one side of funeral garments in 42nd year. In Gun-ryung 42nd year, the Emperor put on the funeral garments for hundred days. Accordingly even in parts, we can see that the Emperor wore two kinds of dress for hundred days, that is, color dress and white dress and white dress. While on duty, in other words, everyday dress was only blue color and also the same color for the belt and shoes. But didn\`t put on Jo-ju. When they were in mourning, they wore white dress and belt as a funeral garments, which were called Hyo-bok, Hyo-bok.

• Journal of the Korean Society of Costume
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• v.55 no.5 s.95
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• pp.1-13
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• 2005

The results from the consideration of this are as follows. 1. Kokuryo has been the exchange foreign relationship with the Han dynasty era, from king DaiMuSin 25 years to Bojang 27 years. 2 King of Kokuryo, from The North-Wei-dynasty has been received ceremonial costumes, first-third class of China's official rank. After unification of China, Su, Dang dynasty's envoy and missionary and many commercial men and artist come from China to Kokuryo, therefore, influenced their costume habbits and behabiers from royal families costumes and common peoples costumes, without concern of that one's social position. 3. Kokuryo King's ceremonial costumes are not the same as the China. Kokuryo performed a religious service an emperor's ceremony. And the Kokuryo King's religious mind was the Budism and Daoism. So that mural painting just showing the symbolic of the king's costumes , Myunryukwanbok.