• The Research Journal of the Costume Culture
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• v.10 no.4
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• pp.319-335
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• 2002

Nongae was the official Kinye(관기) who had exhisted, her portrait was enshrined at an ancestral tablet hall beside Choksukloo. This portrait of Nongae was a work of a painter, Un Ho-Kim. In any case, a study on the costume of the portrait of one person must be taken the costume of the period. This study investigates the character of clothing style in King Sunjo 26(1593) and in her present portrait. And so, her portrait who was enshrined at the place didn't agree with it's clothing in King Sunjo 26(1593) The results of this study are as follows : The portrait of Nongae took the costume style of the beginning of about 1910. and so this style was different from the style of costume, King Sunjo 26(1593). The style of costume, King Sunjo 26(1593) : Jacket : It's jacket was long(near hip) and broad, it's sleeve length was long, it's form was a straight line. Skirt : It's skirt was very long. It's silhouette was formed a soft line The costume of the figure in this picture in wrong from historical point of view. And so, the costume of Nongae in the portrait must adjust it in the clothing style of about 1593.

• Journal of the Korean Society of Costume
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• v.47
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• pp.19-32
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• 1999

The results from the consideration of this are as follows. 1. Dan dynasty has been 10-parts dancer and musician group for courtesy ceremonial meetings of ancient china. 2. Except ceremonial dance and music common dance and musics performed it in front of common peaples meetings. 3. After unification of Dang dynasty many commercial men and artist come frome western of China threfore influenced their costume habbits and behabiers from royal families costumes and common peaples costume without concern of that one's social position. 4. As the people who lived in thewest areas of old china there characterestics of the costumes are open breast jacked breast laped long skirt long scarf long boots narrow sleeve jackets patterend textilles(for womens) round neck narrow sleeved one-pies dress belt, long boots. patterend textiles(for mens). 5. Dancer's Costumes mode are as follows: 1) For females : high hair style, Twin 'high hair style. jewrery decorated hat bird's hair decorated cap. ribons. 2) For mens: Bok-doo. Hokongdu 6. Except traditional old china dancer dress they have many interested dancer dress for instance dang dynasty's 'Ye-sang woo yui dnace' dancer dress is very elegant and interested hip level jacket has peacoak wing shaped sleeves and long skirt has try angles shape attached apron this dancer dress begins wi-jin nam·book-dynasty. 7. Men dancer dress is just head cap bok doo long narrow sleeved one-pies dress.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.915-929
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• 2000

As a result of research, the character of the general dress-costumes from the late 17th century to the early 18th century in Genre Paintings of DuSeo Yun and YoungSeok Cho is as follows. Firstly young women wore braided hair at the back of head and married women wore hair in the style of Unjeun-mori with Gache. The length of Jeogori (Korean traditional jacket) covered waistor shortened to waist length. The width of Jeongori was suitable, because side-seam line was straight or oblique as it comes into inner line. The width of Git was enough and Mokpan-git (shape of board) and Kal-kit (shape of knife) appeared, and sometimes used other color fabric. Sleeve was narrow and ostly folded up. Chima (Korean traditional skirt) used darker color fabric than Jeogori and the width of Chima was narrow and its length was short. Sokbaji (Korean traditional underpants) shown below were narrow and its end narrower. They were barefoot or they wore Hye (Korean traditional shoes) after putting on Beoseon (Korean traditional socks). Secondly general man's hair tie a topknot (sangtu) and put on headdres, 'Bang-lip', 'Mang-geon', hairband, 'Tang-geon' on head. The length of Jeogori became shorter from the line which covered hip to the line which covered waist. The width of Jeogori was suitable and sometimes it had a slit of side-seam line. The width of Git (neckand) was wide and the length of Git was long. 'Kal-git'appeared and it used other color fabric. The shape of sleeve was straight and narrow. They folded up their sleeves. They folded up their sleeves. They folded up their slack that look like 'Jam-bang-i'and the width of slacks was not suitable, and it was narrow. Baji (Korean traditional pants) were with or without knot, worn 'Hangjeon'(ankle band). They were barefoot and wore 'Hye'or 'Jipsin'(Korean traditional straw shoes). Thirdly a person of high birth or a low-ranked official put 'Yu-geon', 'Mang-geon', 'Gat', 'Tang-geon', 'Bok-du', 'Bok-geon', 'Whi-hang'on their head on a topknot. They wore 'Po (Shim-ui, Jick-ryeong'Jung-chi-mak, Do-po, etc)'on Baji and Jeogori. 'Po'was long and wide, it knot with 'Se-jo-dae'(string belt) or 'Po-baek-dae'(band belt). It had a slit of sideline and 'Mu'which had or had not or which were hard to confirm. The shape of sleeve was straight or very wide and its length was long. The width of Baji was wide and knotted with 'Hangjeon'and wore'Beoseon'and 'Hye'. Fourthly child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line and its width was wide. It had a 'Jeogori'which had s slit of sideline. The shape of sleeve was 'Tong-su'(straight), and the length of sleeve was diverse. They put 'Baeja'on 'Jeogori'. The width of Baji was not wide. They wore them straight without or with knot, 'Hangjeon'. They were barefoot or put on 'Jipsin'.

• 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 Costume
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• v.19
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• The International Journal of Costume Culture
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• v.12 no.2
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• pp.210-214
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• 2009

Cave 79 of Kumtura grottoes, is the best preserved cave, which has an important meaning for research on Uighur costume. This paper is intended to analyze the costume characteristics of female donors in Cave 79 by comparing image materials between Dunhuang murals and other murals in Xinjiang province. In Cave 79, female donor wears red robe with tight sleeve, whose collar is crescent-shaped decorated. Two different opinions are upheld for this decoration. One regards this as the turn-down collar, while the other believes this as decoration on V-neckline. Red robe is quite common in female donors of Xinjiang and Dunhuang murals and a female in fresco is wearing a crown in a triangle red headwear style, regarded as red silk and drooping at head. Female donors wear an extra coat, kame hair clasp, red jacket, light-colored high-waist skirt with a long-tail waistband, and tangerine Pibo (silk ribbon) with scattered small flowers. All these costume styles are commonly-used by Han females. The kame headwear is also the common ornament for Han females and the female's hairstyle is in cone shape on head by a white kame. Current costumes are similar but not completely same.

• Journal of the Korean Society of Costume
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• v.49
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• pp.173-184
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• 1999

In the Tan dynasty it cultural style was very international and its culture actively absorbed other foreign culture. Moreover it was the time when the concept of barbarians(胡, hu) was applied widely and its culture got the tremendous influence from other foreign culture The influence from the barbarians were tremendous in Tang dynasty so that among the ten elements of the Sipbuak(十部樂) in Tang period only ChungSangAk(淸商樂, Qingshangyue) and YenAk(燕樂, Yenyue) were from their own Chinese culture(漢, Han). I wanted to discuss the influences of the Barbarians cultures on the dancing costumes in Tang period for it appeared to me that especially the dancing costume with the introduction of new foreign dances and their distinct styles in costumes would make a great impact on the dressing styles in Tang dynasty On the dancing costumes in tang dynasty we dan find the strong influences by the Barbarian style(胡風, hufeng), and even the authentic Chinese dressing styles of han period appear to be change quite a bit.

• Fashion & Textile Research Journal
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• v.1 no.1
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• pp.34-42
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• 1999

The purpose of this study was to change practical korean costume in 20C. In the early 20C, inflow of western civilization started to change korean costume. Since then gradually changes to be simple in Korean costume. Results of this study can be summarized as follows: Traditional jacket (jeo-go-li) gradually began to be long to waist line. This jacket length was to be long and it sleeve is to be short in early 2OC. Traditional skirt (Chi-rna) length was short to the calf of the leg. Traditional wide skirt was gradually to be narrow and pleats shape look as if it in go-gu-Ryeo Dynasty. The width of pleats was about 3~5 cm, be one-sided, look as if it western style in today. But pleats skirt already existed on a women's of the upper classes in go-gu-Ryeo Dynasty. Women's long Coat (do-lu-ma-gi) length was short to under hip line in late 20c. In this way, the practical idea, the factor of design was because of western idea in civilization ages, early 20C. Since then gradually reformed to be simple in Korean costume. Assuming that the trend of simplification in Korean costume is related to the idea of practical. Therefore Korean costume of living or a reformed Korean costume to be design of practical, functional, convenient, economically. And it must have to traditional idea, it is only beauty of shape, pattern, line, fabric in Korean costume.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.1-18
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• 2015

The subject of study is about the illustrations of the round collar Po(袍類) in the Akhak-gwebeom(樂學軌範) which was published in 1493. These illustrations are painted records of what musicians and dancers in the palace were wearing during performances. While each illustration of the Po is similar in that they all have round collars, each has a different name Sam(衫), Ui(衣), Dallyeong(團領) and formative characteristics, and these features were analyze in the study. Sam refers to the Gongbok(公服) as it has long and big sized sleeves, Ui is the word used to represent the basic unit of outerwear, and Dallyeong is believed to refer to the Sibok(時服) and Sangbok(常服). In the formative aspects, Sam's auxiliary sleeve is one of the ways wearing the sleeve of innerwear shown outward and it's assumed to have been produced for visually matching the formal look as well as the convenience free to use of hands. The Mu of Dan-ui(丹衣) is less than the number of the excavated artifacts, it produced in a relatively simplified form. Also, illustration of Dallyeong corresponds to the artifacts and configuration of the 15th to 16th centuries, the costume culture of that time seems to be reflected specifically. While Hyungbae(胸背) used in the form of rectangles and circles such as petals. it tried to represent the country at the official event by borrowing the upper class in the costume that musicians and dancers wear, also showed the rank and social status symbolically by having the differences in the shape and pattern. While the costume culture at the time is reflected, it can be found that the objective of raising the country's dignity is implied by transforming the detailed structure for the practicality, borrowing the costume elements of the high social status and transformed them.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.163-179
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• 2010

False sleeves are 'the sleeves that are attached to clothes but exist just as a part without any function to put arms in them.' They are different from sleeves to put arms in them and are to follow the trend or a way of wearing clothes. They are mostly found in medieval Europe's decorative sleeves named 'Hanging sleeves', but they are also found in Eastern region, too. They are found in sleeves that attached women's headgear in East and Middle Asia, and also in high-class male caftan in Ottoman Turk in the 16th and 17th century. False sleeves can be divided into two kinds by shapes. The first ones are the decorative sleeves of which trunk-shaped sleeves hang around the whole or part of the arm hole but have no function to put arms in them; this is called as 'sleeve-shaped False sleeves'. These sleeves are found in women's headgear in medieval Europe, Ottoman Turk, and East and Middle Asia. False sleeves in Europe and Ottoman Turk played a role in showing wealth and power while those in East and Middle Asia had a great role in highlighting the costume's decorative effect. The second ones are the sleeves hanging down from the arms by attaching long cloth to the arm hole, in design; these are named as 'cape-shaped False sleeves.' This style is found only in medieval Europe, and presumably, these cape-shaped false sleeves may have played a role in boasting of one's wealth and power.