• The Research Journal of the Costume Culture
• /
• v.10 no.4
• /
• pp.441-460
• /
• 2002

Funeral culture, which came to being along with the death of human beings, has developed through many changes in the background, culture, religion and custome of the times, having variant cultures depending on each nation or era. This study is designed to historically and systematically classify funeral rituals and costumes which have constantly changed in a special funeral culture from ancient times to modern times so as to investigate the features of each age. The researcher worked on Western funeral cultures, focusing on Egypt and Rome of ancient times, Creek times, the Middle Ages, recent and modern times ages, referring to literature, precedent studies, domestic and international technical books, pictures and drawings in relation to death and funeral services. Western funeral rituals were designed for offering condolence to the dead, but also used to show off the status of the mourners and the position of the dead persons. The mourning dress were utilized to indicate mourning in accordance with the colors, materials and the ways of wearing them, serving as a vehicle for showing off one's own status.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.18 no.1
• /
• pp.183-190
• /
• 2016

A mourning dress is the formal costume that the mourners wear to show civility during the mourning. Traditional funeral rites are the Confucianism's funeral proceeding where the mourners wear according to the National Mourning Dresses System. However, nowadays, the funeral proceedings and mourning dresses are simplified. In result of current design analysis of the mourning dresses for women, the types of the mourning dresses for women are classified by traditional styles and modern styles. Traditional styles include skits and Jeogori make of hemp fabrics, and modern styles include skits and Joegori style, modernized Hanbok style, and Western style, which consist of cardigan, waist skits, jackets, and pants. The modern styles mostly use polyester and the color consists mainly of black and white. The followings propose new designs of mourning dress for women that reflect practicality, flexibility, and diversity. First, transmit the meaning that traditional mourning dress entails Second, change the length and the width of Jeogori and skirt by reflecting the trend of the time and change the designs of the mourning dresses by using the details of the modern styles so that they are equipped with practicality, flexibility, and affordability. Third, pursue diversity by changing the uniformed fabrics and colors used on the existing mourning dresses. This study addresses the drawbacks and the points that need be improved to suggest the designs of the modern mourning dress for women, which reflect the characteristics of Hanbok and cultural traits.

• The Research Journal of the Costume Culture
• /
• v.8 no.6
• /
• pp.887-898
• /
• 2000

Mourning & funeral ritual means a various kinds of ritual procedures which begins at the time of death, buried and created a graveyard, a manner of wearing funeral garment being mourning the death, finally go back to everyday life. Our mourning & funeral custom was burial at first time. After going through the era of the Three kingdoms, The unified Shilla and Korea dynasty, cremation method has been prevailed. However, based on Chu-tzu celebration in Chosun dynasty, the burial custom has been widely spread again. Nowadays, due to effective land utilization issue, excessive cost for burial and the change of thinking for cremation, the cremation is recognized as remedy of righteous funeral system. At this point, a shroud following existing burial custom burdens considerably for quality, price, size and design of it. Accordingly, it needs anew style of shroud corresponding to cremation system. As an alternative, the shroud is required simplification and standardization ; Firstly, in size, a shroud should be larger than plain clothes and differentiated in small, medium and large. Secondly, the material of a shroud would be white cotton, which can keep from pollution during burning time. Thirdly, it unifies the item. In case of man, 바지(把特, those are trousers), 저고리(赤古里, Korean-style jacket) and Durumagi(周衣, Korean topcoat). In case of woman, 치마(赤　, those are skirt), 저고리(赤古里, Koran-style jacket) and Durumagi(周衣, Korean topcoat).

• Journal of the Korean Society of Costume
• /
• v.50
• /
• pp.119-128
• /
• 2000

this study was designed to discuss the pattern of Confucian funeral ceremony and its costumes in Chosun dynasty thereby exploring the ideas and symbolic meanings expressed on them. 1. Male's official mourning dresses were composed of Choieui symbolizing sadness Choisang(최상), Dukun Sangkwan Sujil Yojil Kyodai and mourning stick Female's official mourning dresses consisted of Daersoojangkon and Kaedoo which were of simple kinds as compared to those of males. Duration of wearing mourning dreses was the longest to the death of father husband and eldest son The forms of mouring dresses were one and the same irrespective of the noble and the mean which expressed the sameness of the sorrow full of losting blood relative. Symbol expressed on funeral ceremony costumes were something like "eldestson-oriented" "male-centered" "distinction of the sexes" and "principle of yin and yang" to reinforce vitality to the costumes. 2. In the other funeral ceremony costumes in a royal fami8ly were those Euijangsu in red and blue colors Yeosakon in purple and white colors. Bandsman in Danryung and Guards in Kukonbok Changeui and Hoeui with five colors while the generally of people woere white dress in the ceremony Hoeui with five colors symbolized the principle of Yin and Yang costumes of military uniforms the dignity of the royal family: white dresses grife symbolizing the dignity of a royal family and Confucian sorrow as well 3. Unlike the mouring dresses there were great differences relative to socio-ecpmpomic status in funeral goods for dercoration Soyeo and daeyeo Among the goods the instrument to drive out evil spirites symbolized shamanism the distinction of Soyeo and Daeyeo separation of body and soul; the sculpture of the Lord of Hades and messenger philosophy of buddhistic netherworld: the engraving of blue and yellow dragons in bier and Juksanma the principles of Yin and Yang : elaborate burial accesaries realistic viewpoint of the hereafter.

• Journal of the Korean Society of Costume
• /
• v.54 no.4
• /
• pp.55-62
• /
• 2004

The ceremonies were roughly categorized into four： coming of age, marriage, funeral and ancestral worship. Among them, the funeral was a representative example to show ancestral worship. As it symbolizes the worship to ancestors, its procedure was complicated and formalized. It was undoubtedly certain that formalized mourning dresses and complicated table setting for sacrificial services to ancestors were burdens. Although what was symbolized by mourning dresses was different depending on the wearers purposes, it was thought that no clothing had such unusual symbolism as mourning dress. When the composition of mourning dress was examined, it was shown that Taoism, family relation of Confucianism or symbolic clothing system of Shamanism were combined. Mourning dress first represented the Confucian idea of ancestral worship. For the composition of clothing in which a shamanistic element was inherent, forms of birds were used to guide the dead soul to the other world. In cutting out mourning dress, opposite concepts of Yin and Yang, and closure and openness were used to show a harmony between heaven and the earth. Male and female were represented through sewing techniques. The period of observing the mourning period depended on the degree of kinship. The degree to which the clothing was loose indicated the degree of sadness and kinship. Load blocks and tear pads indicated the degree of sadness. In considering the above indicators, family relation and filial piety to ancestors had a great effect on the form and details of mourning dress. Shamanistic elements as well as Confucian ones were inherent in mourning dress, which resulted in the combination of Taoism and Confucianism.

• The Research Journal of the Costume Culture
• /
• v.8 no.5
• /
• pp.648-659
• /
• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.

• Journal of Korean Historical Folklife
• /
• no.45
• /
• pp.7-50
• /
• 2014

This study focuses on the funeral rites for Queen Wongyeong during the early Joseon period as part of a review of the changes in the state funeral system and ceremonial procedures. Conducted by the king in his role as chief mourner, the state funeral for King Taejong's wife Queen Wongyeong that emerged during the 2nd year of King Sejong marked the first example recorded in the sillok (Annals of the Joseon Dynasty) of the three year-mourning rite being applied. In terms of the clothing for the state funeral, the significance of Jolgok (a rite conducted on the 100th day following the day of death) was emphasized, while the existing yeokwolje (period of wearing mourning clothes, one month was equated with one day) was abandoned. The existing temporary office system for state funerals was reorganized into a three-office system consisting of the Binjeon dogam (Office for Chapel of Rest), Gukjang dogam (Office for Funeral Rites), and Salleung dogam (Office for the Establishment of Royal Tombs). Buddhism-related rites greatly decreased and were increasingly regulated. The ceremonial procedures were also modified in accordance with the rites directly conducted by the king during the three-year mourning period. The basic pattern of the ceremonial procedure consisted of kneeling / wailing - salute - kneeling/ wailing, and, based on the wuje (rites to console the deceased), was divided into 'make offerings to the deceased' (奠, jeon) and 'hold a memorial service for the deceased' (祭, je). This reflected the differing perceptions of jeon (奠) and je (祭) following the establishment of auspicious rites (gillye) during the reign of King Taejong. In short, the state funeral for Queen Wongyeong provides materials with which to analyze the establishment of the funeral rites and ceremonial procedures designed based on the actual three-year mourning period observed by the king, study the ritual ceremonies conducted during the ancient period, as well as foster an understanding of ancient systems.

• Journal of Fashion Business
• /
• v.7 no.3
• /
• pp.1-13
• /
• 2003

As a ritual that deals with the issues of human life and death, and that embodies complicated cultural implications, funerals have been an important material to refer to in considering the spiritual life as well as the social aspects of contemporary people. The present study on the 19th-century Western funerals is significant in that current funerals have been formed and changed from the ancient practice in a long historical background. The funeral patterns in 1890 to 1910, the period when reformatory movements started to appear in the custom concerning death, have been changed and fixed to be the current funeral custom. The range of the present study is limited to the characteristics of enbalmment, funeral processions and ceremonies, as well as the costumes for the mourning period. The research method employed in the study is the review of literature concerning death and funeral rituals, previous studies, domestic and international technical literature, and photographs or paintings.

• Korean Journal of Hospice Care
• /
• v.5 no.1
• /
• pp.42-49
• /
• 2005

To determine which are the culturally specific factors of Korean bereavement, this chapter focuses on the view of death and the traditional mourning process which reflect Korean values and norms. The formation of the Korean view and understanding of death has been strongly influenced by three of its major traditional religions: Shamanism, Buddhism, and Confucianism (Park:1994: Hao:1999) and Christianity more recently. Each religion has a different view of death and the appropriate expression of mourning. Korea accommodates funeral customs and rules strictly as a cultural system and has retained these traditions over a long period; hence, some of the traditional funeral rituals still remain in modern Korean life, although some of the rites have been simplified. We have looked at the various ways in which grief and mourning is displayed and shared in a collective manner over a long period of time. This fits in well within the other Eastern cultures that are collectively organized, and contrary to the Eurocentric models do not hastily seek to detach the living from the dead and recognize that grief is a long process, and different individuals may take different amounts of time to recover from the grief. The view of death and bereavement in Korea has sprung from the roots of three Korean religions, together with the recent addition of Christianity, although they mainly result from the three earlier religions. The beliefs of these religions are still closely linked together in the rituals of Korean bereavement on both conscious and unconscious levels. The influence of these religions is evident in practice through the bereaved family's mourning reactions, funeral rites and customs and its views about death. Korea used to have a period of mourning for three years, following traditional mourning rites; then the chief mourner and the bereaved families could return to their normal life. In spite of this long mourning process for the bereaved family, once the funeral ceremony is finished, people expect the bereaved family not to express their grief in public; even the bereaved family does not like to talk about death. The process for bereaved people is related to mourning processes in terms of detachment from the deceased in order to start a new life. Relatives and the community recommend the performance of the kut ceremony for relieving the grief of the bereaved. When one family member dies in an unlucky way, the bereaved family may have some fear or other psychological reactions of grief such as pain, depression, insomnia and nightmares, hallucinations or other physical reactions. Unlucky deaths give the bereaved a very painful time and these types of reactions are often more serious than reactions to natural death. But through the kut ceremony, the bereaved family can start to make a new relationship with the deceased. The taboo of this type of death and death generally remains a crucial aspect of the isolation that bereaved people might face and the collective nature of mourning(even where it is still present) is unable to address this aspect of the privatization of grief.

• The Research Journal of the Costume Culture
• /
• v.12 no.4
• /
• pp.497-510
• /
• 2004

This research shows problems of modem Mourning Garments used in Gwangju area compared to traditional ones. Researches are as fellowed; First, items of mourning garments have been not used by degrees. Male has worn Jung-Dan and Du-ru-mak-i as Pyo-Eui of male mourning garments. Second, mourning garments have been simplified and modified. These simplification in shape and uniformity in size are only far Mass production and convenient manufacture. Third, modem mourning garments are made of 6-su (thin) Hemp cloth. In fact this material has no hemp and is just made of cotton and chemical textiles. Even though it is not made of hemp, it has been sold with the name of Hemp Cloth. Materials should be clearly listed. Forth, traditional mourning garments are manufactured through needlework while modern ones through mass production. Now the former is expensive rather than the latter. So Mass produced garments would be preferred to traditional made ones.