• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.51-60
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• 2005

This ethnography is on the passage ritual clothes in Incheon province. This ethnography invatigates in two villages of people who has same family name -Family 'Cheung' (from Young-il) in Yeonsoo-dong and Family 'Lee'(from Cheun-joo) in dongyang-dong- in August to December 2003. The object of examination is 80's and 70's old women who have lived and had lived up to recent in two villages. (grand mother Sung, Cho, Cheung and yoon) The clothes of passage ritual are Baenaeoht is the first clothes of the newborn baby(swaddling), A wedding ceremony clothe is the clothing for the coming-of-age ceremony, Honryebouk is the clothing for wedding, Sangbouk in the clothing for mourning, shroud is the clothing for the dead, sacrificial robes. The result of ethnogrphy is the passage ritual clothes in Incheon Province similar with other Provinces in aspect of the name and the form and wearing of the clothes. there are remarkable differences in making method from making by oneself to purchase(swaddling$\cdot$shroud), westernize(clothes for wedding and mourning), simplification (sacrificial) between ritual for their parents and their husband and children.

• Journal of the Korean Society of Costume
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• v.20
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• pp.83-91
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• 1993

Signifying clothes can be defined as a process in which a clothes obtains a symbolic meaning by confining its use and purpose. In this paper we catagorize the process of signifying clothes that appears in the Byongkut as follows : first removing the clothes, secondly putting on the clothes, and thirdly burning off the clothes. Removing the clothes is a process of dramatic realization and clearly shows proven facts about the things that will occur in the process. Putting on the clothes is a process of falsified expression in which the interest is transferred from the person who wears the clothes to the clothes itself by the shaman's insinuation who leads an interpretation about the clothes. Buring off the clothes is a pro-cess of mystification in which the end of Byongkut is sublimated mistiriously by making the partici-pants believe with the burning that the clothes and the diseases have been curred, and therefore, the ritual is kept from spoiling. The clothes used in Byongkut that religious belief and belief system are expressed through behavior style, and that supernatural power is designed to reveal is related with the various aspects of symbolic life indicated by the clothes.

• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.25-39
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• 2002

The purpose of this study is to look into dressing practices at the Woinarodo region in terms of ordinary and ritual clothes. Men wore Bqji(trousers) and Jeokori(jackets) as their plain clothes and sometimes Jangsam mid Durumaki(topcoat). During the period of Japanese colony, men wore Western-style clothes. For women it was basic to wear Chima(skirts) and Jeokori. And they preferred Momppe rather when in Japanese rule. In arrangements for their head, men put on gut, and had their hair cut during Japanese nile. Women laid a bundle of their braided hairs on the head or braided their hair, while married women did their hair up in a chignon during the ruling period People of the region put on straw and leather shoes, and then rubber ones since the late 1930s. Hand weaving was a major means of living for women at the region. Ramie, hemp and cotton were mainly weaved by hand. Starching was applied mainly to ramie and cotton. Glues for starching were made of raw rices, cooked rices, wheat flour or gloiopeltis tenax. For ritual clothes, especially in wedding, bridegrooms arranged themselves with Samokwandae and then Put on Baji, Jeokori, Durumaki and Danryung. But they Put on Western-style dresses as the liners of Danryung, and wear Nambawi Rather than the Samo after korean independence from Japanese rule. Bridges wore Chima, Jeokori and Wonsam and Chokdoori and covered their face with Hansam Wonsam did not be worn any longer after Korean independence from the rule. Shrouds for funeral ceremony were manufactured with silks, cotton and hemp, when the chief mourner wore hempen hoods and funeral robes, while women, Chima, made of hemp. and any type of Jeokori.

• The Research Journal of the Costume Culture
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• v.1 no.1
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• pp.69-80
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• 1993

This research studied the classification and meanings of symbols on the clothes of he Koran catholic priest. The results are as follows. 1) Symbol of religios spirits and values. - There are many spirits of crist which require to keep and meanings of innocence. 2) Symbol of status - served to symbolize the conscious change from earthy to ordaned man. 3) Symbol of role - differentiate between the role of priest and aid-priest. 4) Symbol of position(or rank) - indicate the position of priests in catholic church. 5) Symbol of situation. 6) Symbol of ritual ceremony - characterized the ritual ceremony.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.4
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• pp.49-62
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• 2014

This study is intended to historical research the Jebok(ritual robes) of Jirisan Namakje. Joseon Dynasty established Five Manners as a country-ruling policy on the basis of Confucianism, the religious clothes-wearing method has been established through Sejong Silok Five Manners and the ritual robes system of all the government officials has been handed down to the end of Joseon Dynasty. The ritual robes of all the government officials was worn at the timed of the religious ceremony included ritual manners, and ritual robes are composed of Yanggwan, Ui, Sang, Jungdan, Peasul, Hwan, Wu(a cord, a leather belt, a belt, jade, a mace, Bangsimgokryeong, Mal, Ri, etc., and the rank was classified by the number of the veritical line of Ynaggwan, a leather belt, Hwan, Wu and jade and typeof a mace. "Jongmyouigwe" during the reign of king Sukjong described exactly the Uicha and textile of the ritual robes at that time, the textile Ui used Heukju as same as "Jegiakgidogamuigwe", and jade was used only in case of the first rank ritual official and other government officials did not wear jase. Also, it was revealed that all officials used a wooden mace, and in case of Husu, the first rank ritual official used Jikseong and other official used a picture.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.142-160
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• 2023

The position of the people who participated in the Bapyo Ritual held in the reign of King Sejong and the corresponding costumes were examined. The king, who was the executive body of the ritual, wore Myeon-Bok, a court dress, and Myeon-Bok was Gujang-Bok made of Jang-wha on Guryu-Pyeongcheongwan. Crown princes, royal families, and government officials wore Oryang-Gwan and Jekraeui, which were Jobok. The crown princes' Joboks were changed from Oryang-Gwan to Wukryang-Gwan in the dynasty year 10 of King Sejong, and in the year of King Munjong's accession, Myeon-Bok was received, and after King Danjong, the crown princes wore Palryu-Pyeongcheongwan and Chiljang-Bok. Diplomats and Jongsagwan who were the envoys wore Sangbok. A Sangbok worn by the diplomat was Samo with Danryeong, Seo-Dae, and Hyeopgeum-Hwa, and a Sangbok worn by Jongsagwan was Samo, Danryeong, Heukgak-Dae, and Heukpi-Hwa. Byulgam, who served as an attendant to the king in the king's close quarters, wore Gongbok and Sangbok. Gongbok consisted of Ja-Geon, Danryeong and Heukpi-Hwa, and Sangbok consisted of orange color Cho-Rip, Jikryeong, Joa, and Heukpi-Hwa. The person holding San, Gae , Sujeongjang, and Geumwolbu wore Ja-Geon and Cheong-Ui, and Seon wore Pimoja and Hong-Ui. Siwigun wore armor and helmets equipped with weapons. Among court musicians, Aksa's costumes consisted of Bokdu, Bigongbok, Geumdonghyeokdae, Bibaekdaedae, and Opiri, and Aksaeng's one composed of Gaechaek, Bisuransam, Hyupgo, Mal, Maldae, and Opiri. As a result of the above, the process of ceremonial clothes becoming uniform clothes in the reign of King Sejong was confirmed. The king and lower-ranking officials such as crown princes, government officials, diplomats, Byulgam, armies for ceremonial weaponry, and court musicians participating in the Bapyo Ritual wore the highest grade of ceremonial clothes for each class. King Sejong had repeated discussions to build a nation based on Confucianism, and arranged each rite and corresponding costume, and the Bapyo Ritual costume was also systematically prepared for each position. The ceremonial clothing organized during the reign of King Sejong was regulated in Yejon and became the basis for continuing to the late Joseon Dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.4
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• pp.521-531
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• 2019

Uigwe Banchado are paintings of court events and royal ceremonies of the Joseon dynasty. The paintings record national events and ceremonial rituals performed by the Joseon royal family, such as marriages, celebrations, enthronements, processions to royal tombs, and archery ceremonies. This record provides a combination of information about the event's appearance, including preparation, procedure, people involved, reproductions worn by the participants, and the items used at that time. Through the realistic depictions painted in the Uigwe Banchado, in particular, one can grasp the scene of events at the time and reproduce the diverse attire worn by participants in the event. Based on 31 representative Uigwe Banchado, 550 knowledge nodes were written. These include 31 royal protocols, 41 attires, 136 clothes, 8 storage facilities, 120 objects, 55 people, 33 places and 83 concepts. The meaningful relationships between each node can be explored via a network graph. Digital illustrations of the 41 attires were created to aid in the understanding of Joseon dynasty royal ceremonial ritual attire.

• Journal of the Korean Society of Costume
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• v.16
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• pp.221-229
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• 1991

This thesis aims at reviewing the wearing aspect and formation of Chosun ceremonial dresses for meal and finding out the thought reflected by them from the standpoint that dresses themselves should be taken as one of the phenomena in culture. That is men's ceremonial costumes and confucian costumes of the royal family and the gentry family in Chosun is reviewed focused on the formation and the wearing aspect of Po, Which is a kind of them. And in the context of the phase of the times. I also considered the thoughts reflected on the clothes such as confucianism, Ying & Yang Theory, and the symbol and the thoughts of patterns in relation to the clothes. Confucian influence was the main force for the Chosun prohibitions for clothes. The major reasons for the prohibitions for clothes were as follows. First, they reflected confucian Chung myoung chooui(the principle that everything should be where it belongs). That is the prohibitions for clothes were used in the means to maintain feudalistic social order. influenced by social rank system. Second, they reflected confucian ethics in the means to recover social disciplines with the maintenance of traditional customs. This shows well in the restriction of luxurious items in dressing included the prohibitions for clothes. Third, they reflected Chosun's toadysm toward China. With the influx of Chinese style of dressing then government even changed the style of uniforms for public officials into that of Chinese resulting in dual styles of dressing. Ying & Yan Theory greatly affected the colors of Korean clothes and reflected toadysm toward China. too. The theory was embodied by prohibition of such colors for clothes as white, gray, and jade green. I reviewed the twelve patterns on Myunpok, Ten-Longivity patterns and Four-Gracious plants patterns in order to analyze the symbolism and thoughts of patterns for clothes. Nansam, Dopo, and Shimui worn by confucian scholars ensures that those clothes bears confucianism and philosopical factors. As shimui was worn by many people it appears in Chosun scholars' studies and a Chinese book called "Yeki". I reviewed the origin, procession, and ornaments of four ceremonial clothes and tried to find out the confucianism in them. First, In Kwanrei (the coming-of-age ceremony) remained ancestor worship and respect for manners. The clothes for this ceremony granted the rights and responsibilities of and adult to the wearer. The royal Kwanreipok had different dresses for each rank. As Samgapok, the crown prince wore Iksunkwan and Konryongpo for the first ritual, Wonryukwan and Kangsapo for the second, and Myunrukwan and Konpok for the third. The rank of the King's grandson was lower than the crown prince's. This example shows that Chosun people respected manners and thought the basic confucianism "God and people are equal." at the Royal court. Second, as Honreipok(wedding gown), the crown prince wore Myunrukwan and Konpok for Daereipok, Wonyukwan and Kangsapo for Napjing and Tongwoo, and Iksunkwan and Konryongpo for Chekbinui. But common people were allowed to wear an official outfit only for wedding in the means of congratulation on the most important day of their life. Wedding gowns which reflected Ying and Yang Theory emphasized the thought that union of a man and a wife is the most important event in life. Third, Sangrei(funeral) was the last ritual of a human being to send off the deceased. The mourning dresses expressed lamentation of the people left behind. Five-Dress-System for each the relative degree of familarity showed the solemnity and formality, which represented the formality of confucianism and ancestor worship. I reviewed the mourning dresses by dividing them into royal, Yangban's, and commons. They were featured by the fact that there was only one style for every walk of life. It is construed that anyone in mourning can wear the same clothes since he feels the same way regardless of his social rank. Fourth, Chereipok(sacrificial rite dresses) had different styles for each social rank. The King wore Myunpok(Kuryumyun and Kujangpok) were recorded to be worn first in the fourth year of King Taecho's ruling. The crown prince wore Palryumyun and Chiljangpok for sacrificial rite dress which was finally settled when King Sejong was in power. Common people wore Dopo, Shimui for the rite dress in the beginning of the Chosun Era and wore Dopo after Japanese invasion of Korea in 1592. In conclusion, confucianism played the main role in ceremonial dress system of Chosun and that was because it emphasized the ethics of action in life, which was different from other religions. It is true that cause-oriented thoughts and Chung myoung chooui in confucianism drove all ceremonies to extreme manners, discriminating the people who belonged to the lower social rank, and resulting in extremly luxurious life style. However, they also created a unique trend and clothes culture in the Chosun Era. I wish that this thesis provieds important information and direction for furthur studies in the future.

• Journal of the Korean Home Economics Association
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• v.45 no.1
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• pp.63-73
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• 2007

Korean children's clothes have unique aesthetic characteristics distinguished from other countries'. Our folk beliefs handed down from ancient times always contained fortune - seeking thoughts and particularly mothers' earnest wishes for the happiness of their children were sublimated into the symbolic beauty of their children's clothes. The present study examined children's clothes in the royal family and among the people for 50 years of the transitional period from the late Joseon Dynasty to modern times, by classifying them into ritual dress for new-born babies, festival dress and everyday dress. Male children's clothes included caps such as Bokgeon(복건), Hogeon(호건) and Gulle(굴레) topcoats such as Durumagi(두루마기), Sagyusam(사규삼) Koija(쾌자) and Jeonbok(전복) and others such as Magoja(마고자), Baeja(배자), Joggi(조끼) and Bajijeogori(바지저고리), Female children's clothes included caps and head ornaments such as Gulle, Jobawi(조바위) and Daenggi(댕기) and others such as Durumagi, Jegori and Chima(치마). What is interesting is that old clothes handed down to the present are mostly boys' and few of them are girls'. This is probably because of the strong preference for boys rather than girls that continued until the end of the 20th century. Ordinary people dressed their new - born babies with simple white clothes until Samchilil (the 21st day) or Baekil (the 100thday) but, for these occasions, the royal family prepared clothes as formal as those for the $1^{st}$ birthday among the public. Rainbow-striped garments were more popular among the public than in the royal family. As rainbow colors were known to Korean people to dispel evil power and bring in fortunes, rainbow - striped garments were essential for the $1^{st}$ birthday and festive days. However, they were seldom used in ordinarytimes, and most boys and girls wore plain jackets and plain topcoats. When children's clothes in noble families were compared with royal family's ones, either handed down to the present or found in old literature, no significant difference was observed in the basic composition of everyday dress. In particular, it was found that Andong Kim's family had dressed their children with very formal dress such as Dopo and Sagyusam. Among children's clothes, the most gorgeous one was that worn on the $1^{st}$ birthday, and those for other occasions or festive days were similar or simpler. Colors, patterns and designs used in decorating children's clothes mostly had the meanings of seeking fortunes for children such as long life, wealth and prosperity.

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