• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.29-44
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• 2013

This study is about the periodic characteristics of Wonsam in the Joseon Dynasty. Wonsam include the Danryeong-shaped Wonsam in the beginning, the compound Wonsam in a period of transition and the stereotyped Wonsam in the late Joseon Dynasty. The formative characteristics of Wonsam are divided into four stages. The first stage of the Wonsam is from the 15th to 16th century. The shape of Wonsam began to form and it was similar to one of Danryeong during this time. The formative characteristics of the first Wonsam included collars that looked like one of Danryeong, side pleats(called Moo) with multiple inner folds, straight cylinder-shaped sleeves, and a belt tied with the Wonsam. There were various fabrics that were used for the Wonsam from this stage. Second stage of the Wonsam is from the early 17th to mid 17th century. This period marked the beginning of the transition of the Wonsam and it served as a stepping-stone to the development stage in the Joseon Dynasty. The characteristics of the transitional Wonsam were a complex combination of the Danryeong and Wonsam. During this period, the Wonsam went through many changes and forms in a short period of time. Third stage of the Wonsam is from the mid 17th to early 19th century. The Wonsam was developed at this stage. The developed Wonsam went through a period of transition equipped with a stable form. The formative characteristics of Wonsam during this period included collars that faced each other, big and wide sleeves with multicolored stripes, Hansam, curve-edged side seam and the side pleats(Moo) with multiple inner folds had disappeared. It was a turning point from the single-layered clothes to double layered clothes and from dark blue to green color appeared at this time. The fabric patterns of this stage tended to consist of more simplified silk pattern. The fourth stage of the Wonsam is from the late 19th to 20th century. The Wonsam was expanded at this stage. The formative characteristics and fabrics were typically used for the standard Wonsam and were divided into two types; as a ceremonial robe used in courts and a wedding ceremonial robe for the common people. Phenomena such as sewing of double-layered clothes as one and straight-edged side seam during the late Joseon period developed into simpler and more practical fashion culture.

• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.340-341
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• 2004

• Journal of the Korean Society of Costume
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• v.42
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• pp.173-186
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• 1999

the object of this thesis is to find out the Chosun Dynasty's Fabrics of 17th century which founded in the buddhist statutes. The total 43 pieces of fabrics can be classified chronologically as follows; 14 pieces in the year of 1641, 18 pieces of 1679, and 12 pieces of 1701, These fabrics also categorized by the weaving method as follows; 25 plain weaved 8 twill weaved and 5 pieces of satine weaved. I could confirmed the width of fabrics are 38cm and 38.5cm through these fabrics. Because of the fabrics were composed of mainly plain weaved silk Chu. There weren't many fabrics with motif. The fabrics within the buddhist statues have their own meaning.

• The Research Journal of the Costume Culture
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• v.16 no.4
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• pp.748-761
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• 2008

This study was initiated out of necessity to inquire into the trend of costume regulation between the mid-15th century and mid-17th century, and what influence the change of dress and its ornaments had on the people at the time. As for the resources this study was based on, the True Record of Joseon Dynasty, which was the historical record of official compilation, was used as basic material, and the excavated relics at the time were referred to. The forbidden dress and ornaments mentioned in the records from the time of King Seonjong to the time of King Hyeonjong were classified into textiles, clothes, ornaments and dresses, according to the objects. It was designed to identify the laws and ordinances or regulations enacted by the state and the contents of discussions, which were caused by the extensive consumption of silk gauze and fabrics and the luxury in dress and ornaments, and the phenomenon induced by the consumption desire of the social class with economic power, and to help understand the cause. So to speak, the law and ordinance or regulations were established to solve the social problems caused by the failure in controlling dress and ornaments wearing based on social position, during the process in which the king and court officials were making effort to intensify their political power in each regime.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.2
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• pp.244-255
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• 2023

Patterns abstractly depicting flowing water with Chinese characters such as gong, wan(man), or wang continued endlessly and curved water patterns began appearing on textiles during the Song Dynasty. Though Song curved water patterns encompassed poetic sentiments such as "falling flowers and flowing water," the meaning faded with time, and these patterns were depicted in backgrounds with flowers added to brocade (Geum-sang-cheom-hwa). During the Ming and Qing Dynasties, combinations of diverse patterns, including flowers, butterflies, dragons, and auspicious treasures became fashionable, rather than the gong- and wan-shaped curved water patterns. Likewise, during the Joseon Dynasty, curved water patterns were preferred as background rather than as primary patterns. They were overlaid with flowers and clouds. The overlaid flower patterns included four-season flower patterns (17th-18th centuries), round flower patterns (19th century), and large flower patterns (20th century), which were identical to flower patterns fashionable at the time and arranged at intervals on complex curved water pattern backgrounds. In contrast, simple Ruyi types were more numerous than the four-Ruyi types fashionable at the time with regard to cloud patterns. Added here were Taiji (great ultimate symbol) or crane patterns, thus seeking to depict diverse auspicious Ruyi such as wish fulfillment and longevity.

• The Korean Journal of Community Living Science
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• v.22 no.1
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• pp.77-94
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• 2011

It is not clear to assume the history of dyeing by persimmon juice without an early knowledge of an accurate record. However, the beginning of persimmon dyeing in Korea is estimated to be around the $13^th$-$14^th$ century, even though there are no supporting records. On the other hand, there are definite records of persimmon dyeing in Japan from around the 17th century. Persimmon juice was originally used for fishing tools in both Korea and Japan, but upon entering the Modern Era it eventually transfigured into a dye for fabric. In Korea, persimmon-dyed fabrics were used for traditional clothing until it also became a popular choice for modern clothes in the 1990s. In Japan, persimmon juice was originally used for varnishing surfaces of household items, but it recently became a material for arts, crafts, and even apparels. The main difference between persimmon dyeing of the two countries is the presence and absence of the fermentation process. In Korea, persimmons are picked and water is immediately added to its juice to produce the dye. In contrast, Japan produces a fermented persimmon dye. As a result, in Korea the dye can not be preserved for long periods, whilst in Japan it is matured in the storage for 2-3 years. Today's pursuit of eco-friendliness and wellness has prompted an inclination towards natural material clothes. Therefore, it is necessary for both countries to push scientific research into improving the storage methods and colorfastness of persimmon-dyed products for the increase of use consumption in other areas of persimmon and arrowroot dyed fabrics, and the development of environment friendly materials.

• Journal of the Korean Home Economics Association
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• v.24 no.1
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• pp.17-26
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• 1986

War has been a reason for the culture of one conservative country to make contact with the culture of another country. The Crusade, among other wars, caused cultural exchange between the orient and the occident and had a great influence on the western costume. This paper has made an attempt to find out the influence of the Crusade with respect to the cultural exchange between the orient and the Occident and to study the influence which the Crusade has had on the western costume. The Crusade was the war in which the European Christians tried to retake the Holy Land, Jerusalem, from the Islamites through the 11th century to the 13th century. As a result of this war,the autyority of the Pope was weakned, the nobles were ruined and royal authority was consolidated. Due to the contact with the Orient, trade had become active, cityes had developed and the middle class of rich merchant had grown. Gothic architecture also appeared in the Occident at this time due to the religious influence of the Crusade. Turban type headdress and the brink decoration of clothes had been very popular under the influence of the Orient. Embroidery and applique had developed and silk fabrics which had been imported from the Orient had made the costumes more fabrics which had been imported from the Orient had made the costumes more gorgeous and luxurious. Many accessories were imported from the Orient. The Oriental culture contributed to the use of rich and bright colorsm, various ornaments and splendid textiles of the western costume. Owing to the influence of war itself, many costumes had been newly made in order to adapt to the hot desert climates of the Orient. Blazon decorations, uniforms and armour had also developed.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.143-151
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• 2009

Ukiyo-e is the representative genre-painting of Japan, dominant during the 17th century Edo-Period (1503-1867). Ukiyo-e is mainly focused on expressing the lives of geishas, sumo wrestlers, and kabuki characters, who were the center of the Japanese amusement culture, and gained popular acceptance in Europe when it was first introduced in the late 19th century in the form of Japonism, having significant influence and impact on the impressionist artists of the time and on the design of western cloths. In this papers, we will be primarily conducting a historical study on the development of the Ukiyo-e, a representative genre-painting of Japan, and conduct a in-depth analysis of pattern expressed in the Kosode of women, represented through various different works of art. In order to conduct a thorough analysis of pattern expressed in Ukiyo-e, we collected over 255 pieces of materials from existing foreign paintings as well as museums in the National Museum of Tokyo, Edo Museum, and the Harajuku Museum of Ukiyo-e. This papers seeks to analyze and classify patterns expressed in the works of Ukiyo-e and research the characteristics express in the pattern to contribute to the development of fabrics in the modern fashion design industry.

• Fashion & Textile Research Journal
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• v.10 no.1
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• pp.22-29
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• 2008

In this study, it is investigated the types and the compounding method of flower patterns and the uses of flower patterned fabrics in Chosun Dynasty. Research was done through the references of exhumed clothing during 16-17th century. Our ancestors had used the various flower patterns based on Buddhism, Taoism and Confucianism onto the fabrics. The flower patterns on the fabrics were expressed with the other patterns such as treasure patterns, letter patterns or bird patterns. And the flower patterns symbolized the various good meanings such as longevity, integrity and prosperity etc. In the order of the percentage, the types of the flower patterns were shown Lotus(27.31%), Arabesque(26.85%), Japanese apricot(14.81%), Peony(8.79%), Flowering plants(6.94%), Chrysanthemum(6.01%), Pomegranate(2.31%) patterns and so on. Especially the Lotus pattern was shown up most frequently. That of shape was designed as blooming(開花), full bloom(滿開) and the side of flower(側面). By the compounding method, the compound types mixed with the other patterns were used much more than the individual types composed by its own pattern. The flower patterns were used a lot in Jeogori(Jacket) regardless of the ganders and in men's Po(coat) including Cheollik(天翼), Dappo(胡), Jeonbok(戰服), Dahnryoung(團領), etc. Also contrary to these days, the flower patterned fabrics had come out in the shrouds. Judging from these facts, our ancestors wished that the meaning of the immortal life was included in the flower pattern.

• Conservation Science in Museum
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• v.23
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• pp.49-60
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• 2020

The wrapping cloth with Cloud and Treasures Pattern donated by the head house of the descendants of Lee Hangbok (1556-1618) at the National Museum of Korea underwent conservation treatment for its protection and display. It was then compared with other ancient fabric objects for dating and analysis of the design. The subjects of Cloud and Treasures Patterns of clothing excavated from tombs dated to some point between the birth and death of Lee Hangbok and with Cloud and Treasures Patterns on the covers of Uigwe copies from the same period from the late 16th and 18th centuries were compared. The results of comparison with relics with clear dating are as follows: First, The Cloud and Treasures Patterns on the late 16th and 17th centuries the differences in the proportion between the head and the tail of the cloud among. Second, the Cloud and Treasures Patterns on the covers of Uigwe copies and fabrics excavated from tombs dated no later than the early 1700s share similarities with the Cloud and Treasures Pattern on the donated wrapping cloth in terms of the arrangement and size of designs and the proportion between each portion of the design. Though the study failed to identify the exact use of the wrapping cloth, it was estimated to be produced in early 18th century when the portraits of Lee Hangbok were copied.