• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.55-71
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• 2011

Court ladies' tasks were largely divided into two. First, if there is a royal family event, such as the royal family's wedding or feast, they followed the rules and regulations of work division that was defined in "Gyeonggukdaejeon". Secondly, during normal days, they were divided into Jimil (至密), Chimbang (針房), Subang (繡房), Sesugan (洗手間), Saenggwabang (生果房), Naesojubang (內燒廚房), and Oesojubang (外燒廚房) and took charge of female work that was needed daily at the palace including serving, cooking, laundry, needlework, embroidery, cleaning, and nurturing. This organization was operated by different palaces such as the daejeon(king's palace), daebijeon(queen dowager's palace), junggungjeon(queen's palace), or sejagung(prince's palace). Court ladies were selected among female slaves of the government office or naesusa(a ministry of royal household properties). Although commoners were forbidden to be selected, they sometimes became court ladies voluntarily for financial reasons or because of the will of their parents. Court ladies had different appearances according to the division they belonged to. The court girls of Jimil, Chimbang, and Subang wore saeangmeori while court girls from other places had braided hairstyles. At Jimil, they wore all different kinds of chima(skirt) and jeogori(jacket). Usually, court ladies wore navy chima, jade jeogori, green gyeonmagi(top jacket) with the uyeomeori hairstyle. When working in the evening, they wore pink jeogori or yellow-green jeogori, navy chima with the jojimmeori hairstyle for easiness to stay up all night and work. Navy chima was worn by court ladies. If there was a royal family event upper court ladies wore uyeomi, black or green wonsam, and stewards wore garima and dangui.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.