• (The) Research of the performance art and culture
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• no.41
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• pp.257-284
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• 2020

Goseong Ogwangdae started academic research in the late 1950s and was designated as a national intangible cultural asset in 1964. From the time of the academic survey to the time of designation, it was recorded as using paper masks, but when the recording image was filmed in 1965, it was already changed to wooden masks. In 1960, before being designated as an intangible cultural asset, the number of masks, which was 9 points, gradually increased to 19 points in 1964. It is necessarily included in the leper, Chorani, Malttuki, Cheongbo-Yangyang, Halmi, and Jemilju, but the character of the yangban is not yet clearly differentiated. Hwangbongsa and Sangju appeared as bare faces, and consumption, milling, Cheongbo-Yangyang are used together with Bibi and inspiration. It can be guessed that Bibi was not the appearance of a foreign object with horns as it is now, considering that Bibi and Madangsoi were used together. Since 1965, shortly after the designation, the whole of the Goseong Ogwangdae mask has been changed to a wooden mask. All the characters except for resident, courtyard, and top-of-the-line are wearing masks. Bibi, Hongbaek, and service masks have never appeared until 1964. The Yangban was changed to the closing ceremony with six people in the order of Won-Yangban, Baekje, Heukje, Cheongje, Hongbaek, and Jonggadoryong. Starting in 1969, the mask enters the stable period where the kind is the same as the present. Bibi-Yangban uses both the Won-Yangban and the Jemilju uses the Somu, but all other characters use the individual mask to use a total of 18 masks. The Yangbans are clearly differentiated, and a total of seven Yangban appear. The reason why the change in the type of mask and the expression of material is so large is that the first generation of mask makers died and the tradition of mask production was cut off, but there is also a cause of the extreme change in the environment of the drama that the performers who joined after the designation had to face. Also, it is closely related to the change of the times when the meaning and weight of masking in masking has changed. At that time, the performers were not so tied to the current concept of 'original form' that they preserved the appearance of the designated time. Originally, Goseong Ogwangdae was centered on improvisation dance, not the formalized dance as it is now, and there was a certain fluid aspect in the retelling, so it was flexible in the use of masks even before the designation of cultural assets. Strict rules did not apply in the details, as it was a self-sufficient play by the performers, not an offer event. The form and contents of this fluid play are changed to preparation for the performance while preparing for the folk art contest. As the subject of the contest in self-sufficient play, dance, costumes, and props became more and more colorful as well as dancing, costumes, and props. As a result, participation in the contest brought about changes in the overall performance and changed the mask, which was accepted within the preservation society.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Journal of Fashion Business
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• v.19 no.1
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.84-100
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• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.

• Journal of Conservation Science
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• v.29 no.2
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• pp.161-170
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• 2013

The purpose of this study is to find the reasonable plan for the restoration method through the practical repair of excavated costume. The minimal repair only without adding the physical force as far as possible after investigating the state of excavated costume has been progressed in case of excavated costume since it is already degraded and weak due to the characteristics of organic matter at the moment when it is excavated. Moreover, it has been restored as the following course; The restoration has been applied according to the state of excavated costume with the maximum stability by classifying items capable of being restored considering the fabric state of excavated costume. The drawn thread from the weak in strength and the refined thread of the Juasa(simple gauze) or the light degraded silk thread has been used in case of thread for restoration. The cotton fabrics has been used in the fabric of cellulose system, the Juasa or the silk has been used in the silk depending on the kind of fabric in connection with the support fabric, some parts have been dyed with Alnus firma fruit and the persimmon, has been repaired by using the dyed fabric with the clove for the purpose of mothproof-antibacterial treatment. The method to repair has been carried out by classifying according to the state of damage and the way of formation of costume. The needlework method suitable for the part and state of damage by using the basting, the broad-stitching, backstitch, the blind stitch and the hemming stitch in connection with the needlework method for restoration.

• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.4-21
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• 2018

This paper reviewed the legitimacy of the name of those sixteen pieces of hat artifacts known in Korean as pyeongjeongmo and currently housed by the National Palace Museum. This was undertaken in order to rectify the error of calling them pyeongjeongmo. Also, the paper suggested pyeongjeongmo's production method to apply representation of the artifacts or production of Joseon officials' hats as representation of ritual costumes in the royal court. The name pyeongjeongmo originated from pyeongjeonggeon. Gyeongguk Daejeon recorded that noksas wore yugak-pyeongjeonggeon and seoris wore mugak-pyeongjeonggeon, but the pyeongjeongmo artifacts housed in the National Palace Museum have been found irrelevant to those pyeongjeonggeons put on by both noksas and seoris. Rather, they has been confirmed as corresponding to dugeon or jogeon worn by byeolgams or suboks who served at the palace of the crown prince or princess. Through the investigation of the artifacts, the researchers could find out the tailoring and sewing methods, the finished look, and the folding manner of pyeongjeonggeon. Although the structure of pyeongjeonggeon was generally consistent, the frontal look was slightly different depending on the folding manner, resulting in three distinguished types of pyeongjeonggeon. Regardless, the pyeongjeongmo was made with one piece of fabric by a flat tailoring and folding method to create a three-dimensional hat. The finished shape appeared low in the front and high in the back side structure. The head girth was 55~59 cm, and the height was 19.4~21.5 cm. To make it with one piece of fabric, the head girth part was tailored in the same direction as the strands. Based on the artifact Changdeok 23820, this paper has also suggested a finished reproduction through the processes of preparing the materials, mounting, making the center ornaments, sewing and folding. The tailoring was completed with black silk fabric which was cut in a unique shape designed in advance, and hemp fabric which was mounted to the former. The top part of the head was finished with black threads, and the center line at the back was fixed with decolored cotton threads by blanket stitches with 3.5~4 cm intervals. Bamboo strands were inserted in the inside of the front-folded part, which then was fixed by patterned stitches with white cotton thread. At the back, a small bamboo clasp was attached so that one can lock it to the headband and prevent it from falling off.

• Journal of Conservation Science
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• v.28 no.1
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• pp.21-27
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• 2012

In the Chosun period, the noble class usually buried the dead bodies in the lime-covered tomb. Recently their costumes are excavated while maintaining the shape. However, the textiles discovered from the inside have been degradated by a body and moisture. To conserve these textiles one of the most important thing is how to clean these textiles right after the excavation. The purpose of this study is to examine the effects of wet cleaning to minimize the color change of textile remains. For this purpose, silk and cotton were dyed with natural dyes (7 red, 1 blue, 6 yellow, 4 green and 4 purple colors), then they were kept for 6 months with pork meat at $10^{\circ}C$, and were washed by four cleaning solutions (water, anionic surfactant (SDS), non-ionic surfactant (Triton X-100) and natural surfactant (saponin)) at $20^{\circ}C$ and $40^{\circ}C$. The color change was evaluated by color difference (${\Delta}E$) between non-treated and after washed samples. From the results, it was found that the color changes are significantly different depending on the washing temperature, textile material, the cleaning agents and the type of dyes.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.6
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• pp.935-946
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• 2008

Religion is the symbolic form and action, linking the ultimate condition of life with human beings. Religious idea grasps the world through symbols and gives birth to the action through symbols. This research put its purpose in elucidating the effect of religion on the costume and its mechanism. It's focus is centered on Buddhism, Hinduism, and Islam which are among the world high religions. Part of this research also examines the mechanism in which several composing factors are expressed with rituals and manifested with costumes, this process was diagrammatized and suggested. The composing factors of religion such as belief system, experiences, community, and rituals are closely related. Ritual especially, is the symbolic action, practice, and the way of rescue, expressing religious meaning. Religious rituals such as imitative rituals, positive or negative rituals, sacrificial ritual, and rites of passage have been expressed with religious music or figurative art such as costume, construction, and art as well as religious ritual like ancestral rites. Religion has had a great effect on the overall culture including costume as a belief system by lightening the meaning of life and suggesting the solutions to the human problems such as anxiety or conflict.

• (The) Research of the performance art and culture
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• no.40
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• pp.5-35
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• 2020

Affect is intensity and quality that are generated as the physical body senses the outside world. Of experienced affect, notions that are granted meaning and interpretation are emotions. Affect theory distinguishes emotion and affect and by focusing on affect, it provides methods with which to analyze physical body responses and changes and it presents new possibilities to performing arts research that uses the physical body as a medium. Nong-ak is art that concentrates mainly on the occurrence of affect rather than 'representation'. Nong-ak is a performance type in which sound, color, texture, and physical movement overlap and exist in a synesthetic way. Here, physical things such as instruments, props, costumes, and stage devices are gathered together with non-physical things such as rhythm, mood, and atmosphere around human bodies. The physical body is stimulated by these things, displays tendencies that suit performances, and becomes 'the body without an image' as it immerses itself into the performance, acting while displaying 'quasi-corporeality'. The body, which moves automatically as if without consciousness, appears more easily within groups. To transition individuals of everyday life to 'the body without an image', Nong-ak executes the group physical exercise of 'Jinpuri'. Such physical exercise builds up affect by increasing nonverbal communion and communication and brings out the creativity of individuals within mutual trust and a sense of belonging. Affect and emotion stirred up by Nong-ak act as confirmation and affirmation of the existence, vitality, and ability of one's self and groups. Such affirmation recalls Nong-ak as a meaningful and important value from group dimensions and perceives it as a performance form that should be preserved and passed on.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.90-111
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• 2021

Seojangdaeyajodo is a drawing of Jangyongyoung's military night training on February 12 (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the positions and roles of the low-ranking soldier belonging to Jangyongyoung, and the composition and characteristics of military uniforms for each role were examined. The results ascertained by the historical research on the military uniforms are as follows. Deungronggun, noeja, sunryeongsu and daegisu who were placed in front of the king's Seojangdae were the low-ranking soldiers belonging to Jangyongyoung. The soldiers who escorted the king around Seojangdae were lowranking soldiers belonging to Jangyongyoung. The military uniform of the deungronggun was consisted of a jeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon and black shoes. The low-ranking soldier's heopsu suggested that it could also be a sochangui. He carried a sword and a red lantern. Noeja were divided into a sinjeonsu and a jujangsu. The military uniform of the noeja was consisted of a Jujeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon, and black shoes. Sunryeongsu were divided into a sinsigisu and a younggisu. The military uniform of the sunryeongsu was consisted of a jeongeon, a black heopsu, red gweja, indigo jeondae white haengjeon and black shoes. He carried a sword and a red lantern. The military uniform of the daegisu was consisted of a jeongeon, a black heopsu, blue gweja, indigo jeondae, white haengjeon and black shoes. He carried a sword and a flag. The soldiers surrounding Seojangdae and the seongjeonggun defending the fortress were the Chogun. The military uniform of the chogun was consisted of a jeolrip, a black heopsu, houi, indigo jeondae, white haengjeon and straw shoes. Houi was applying the five directional colors: the east is blue, the west is white, the south is red, and the north is black. He carried a sword and a gun. It was presented as an illustration of costumes that could produce contents by reflecting on these historical results. The basic principle of the illustration was to present the standards for 3D content production or actual production. Samples of form, color, and material according to the times and status were presented. The front, the side, and the back of each costume and the feature were presented, and the colors were presented in RGB and CMYK.