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

• Journal of the Korea Fashion and Costume Design Association
• /
• v.15 no.1
• /
• pp.155-173
• /
• 2013

Recently, social problem of teens becomes one of the important social issues. Adolescence is the intermediate stages of childhood and adulthood. Teens have not find their identity at this time. That reason is why teens and the old generation are disconnect. That arise from the development of industry and the nuclear family, entrance examination-oriented education system. So they are wandering in the popular culture and the cyber-space. Therefore, families, schools and state should have interesting and understanding for teens, and should strive that teens establish a self established identity. Specially, ethics education using traditional culture will help to establish their identity, and that provide self-esteem and pride about korean traditional culture. This is the reason why culture contents that is based on Korean traditional culture have to make for teens. The purpose of this study is to provide the basic data that will help in the development Korean traditional cultural contents for teens. In this study, this researchers will search the following matters; first, what is ritual for Coming-of-age, second, various forms of ritual for Coming-of-age and Korean modern ritual in order to grasp the meaning of the ritual for Coming-of-age, third, costume and meaning of costume which has in both Kwan-Ryea as Korean traditional ritual for Coming-of-age and Korean modern ritual. This study will compare Kwan-Ryea with traditional ritual of modern.

• The Research Journal of the Costume Culture
• /
• v.29 no.2
• /
• pp.204-221
• /
• 2021

The morning ritual was a rite whereby a morning audience with the emperor was held for feudal lords sovereigns and subjects living in the precincts, monarchs or foreign envoys of the outskirts of the capital, and other ethnic group. Distinction between the main and subordinate rituals, changes in the ceremony according to the times, and the position or rank of those participating in the rite, were factors that directly affected the costumes worn for ritual. Accordingly, in this paper, the costumes worn by members of the Ming dynasty (emperor, prince imperial, prince) were examined in terms of the period and detailed ceremonies with a focus on the morning ritual and costume systems presented in the official historical records. Through this study, only Mian-fu (冕服) and Pi-bian-fu (皮弁服) were defined by the costume system ase costumes worn in the morning ritual. However, through comparative analysis with the morning ritual system, it was confirmed that Tongtian-guan-fu (通天冠服), Yishan-guan-fu (翼善冠服), and Bianfu (便服: slightly casual wear) were also worn. It is worth noting that the color of Gunlong-pao (袞龍袍) was differentiated according to status; the Emperor wore yellow, the Prince Imperial and lower levels wore red, which was the traditional perception of academia. However, following confirmation of the custom costume for the morning ritual, it was confirmed that the color of this differentiation appeared during the 3rd year of Emperor Yongle of Ming (1305). Previously five traditional colors (blue, red, yellow, white, and black) were used for the season.

• International Journal of Costume and Fashion
• /
• v.8 no.2
• /
• pp.32-49
• /
• 2008

The Torajan people who started to receive increased attention from the 1990 are one of the many ethnic groups of Indonesia. This paper intends to examine Torajan Ceremonies practied today in the modern world, driven by the Torajan people's age-old perspective of life and death (and the world after) that comes from their background on traditional lifestyle and (animated) folk religion/belief. It focuses on the ceremonial Dances, which is one of the most important element in Torajan Ceremonies, and gain deeper insight through its costumes and ornaments which traditionally revealed the social status of hosts and performers. In ceremony, the most important division is the classification of ritual into Aluk rampe matallo(life facing ritual ) and Aluk rampe matampu? death ritual). So Traditional Toraja dances may be classified into two genres: life related ritual dances and death ritual dances. Especially the funeral ceremonies in Toraja has been rather more famous on its spectacle aspect to outsiders however its relationships to the broader theme of Torajan Ceremonies and ceremonial dances are very less known and sources on this topic are also very scarce. Fortunately, I was able to witness one of such an ritual event. I did see one kind of the funeral rituals which is the most dramatic and symbolically rich performances in Toraja. Here, a brief account of its will highlight some dimension of ceremony, personfood, and potency in Torajan thought and action.

• The Research Journal of the Costume Culture
• /
• v.5 no.3
• /
• pp.142-150
• /
• 1997

Korean ritual dancing was doing in a royal court when an auspicious event happen in a country, a ritual ceremony was hold or reception for an envoy came from the other country was hold. There were 53 kinds of ritual dancing in Korea. Gumgee-Mu was the one among of them. Yea-Reung(woman ritual dancer) were dancing Gumgee-Mu with a sword. For Gumgee-Mu they wore a Kaeja(快子), Haebsuyoi(挾袖衣). Above it they took a Jeandae(戰帶), Jeanlib(戰笠). The dancing suit\`s color had a harmony with well mixed. Lunar-Solar-Five-Natural(陰陽五行) of oriented traditional concept.

• Journal of the Korean Society of Costume
• /
• v.58 no.1
• /
• pp.79-89
• /
• 2008

Jongga means a head family by only first son's line of each generation. It is our culture's root and identity. It also includes ritual for continuing filial duty. Ritual takes the main role on jongga culture to pay respects to Jongga's ancestors and roots. Therefore, ritual costume's importance can not be neglected. We will check a Po mainly for Jongga ritual costumes' types and designs to refind Jonggas identity and its meaning. In this research, areas are divided to Gyoungsang by Youngnam sect and Jeonla by Kiho sect. Geochang, Andong in Gyoungsang province and Haenam, Namwon, Youngkwang in Jeonla province where currently first sons of Jongga reside have been researched. The method is based on Books and visits on the places. Ritual costumes' types and designs are different between Gyoungsang and Jeonla. Firstly, now in Jongga, only a Dopo and a Durumagi are worn while the manner book shows a Danryoung, a Jikryoung, a Dopo and a Simu. Also costumes are variable on areas. Secondly, a Po is characterized by its sleeve and back-line's inside skirt. In a Po, Gyoungsang has a Duri sleeve and Jeonla has a Duri sleeve which has been changed from a Dunggun sleeve. While Gyoungsang has rectangle-shaped two pieces cloths and a split in a bottom, Jeonla has both a Mu with a split back and a complete split back in back-line's inside skirt. It seems that Youngnam sect's fundamentalism and Kiho sect's flexibility about culture of old political groups would have influenced on these patterns.

• Journal of the Korean Society of Costume
• /
• v.27
• /
• pp.41-52
• /
• 1996

This thesis is a rearch on ritual dresses and ideology of new Korean religions primarily cen-tering on the way how religions ideology has been expressed into them. THe results are as follows" 1. The representative ideology in new Korean religions is the beginning of the world after the end religional union anthropocentrism ethno-centrism and social reform. 2 The creator of Mirukbulgyo hinm-self made the ritual dress for Mirukbulgyo Therefore his thought and the thought new religions are expressed variously on literatiure and ritual dress Ritual dress which has been wearing to all the believers show the thought of social reform also it is not connected with the social position and sex distinction. That ritual dresses are used the part of boue color appears the thought of beginning of the world after the end and ethnocentrism The organization of all the dresses contains the ideol-ogy of religional joined-one. Each dress embodies the ideology of religional union and anthropocentrism in its Inhwagwan, Chungbok contains the ideology of religional union which Taosim prefominanates and ethnocentrism P'oui contains the ideology of beginning of the world after the end and the ideology of social reform.form.

• The Research Journal of the Costume Culture
• /
• v.1 no.1
• /
• pp.69-80
• /
• 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 Korean Society of Costume
• /
• v.50 no.3
• /
• pp.5-12
• /
• 2000

Jaesuk-koli an important part of the 12 shamanistic rituals, is an accepted buddhist monk's costume. In this paper, the Jaesuk-kori costume and its meaning are studied. The ornaments of shaman's costume differe somewhat from region among individual shamans, but the symbolic meansing are fairly similar. The significance of Jaesuk-kori shaman's costume ar as followed ; First , a Buddhist monk's costume is accpted in the Jaesuk-kori ritual costume. Second, a shaman wears Jangsam (long-sleeved buddhist robe) and Kasa (surplice) in the Jaesuk-kori rituals. Third, the ornament of Sipjangsang objects search for earthly happiness while the rotus flower embroidered on the costume , depicts purity in the heaven world. Fourth, five colors in the Jaesuk-kori costume represented, Yin and Yang of universal harmony. Jesuk-kori ritual costumes signify that traditioal shamanism was accepted and absorbed into Buddhist rituals system.

• The Research Journal of the Costume Culture
• /
• v.7 no.1
• /
• pp.68-81
• /
• 1999

This paper makes a report of Shaman\`s ritual performed among Korean resiednts in Japan as socio-historical facts, and this also examines the symbolic meanings of Shamans\` costumes. The results are as follows ; 1) At the ritual of Jungsip-Wang Maji, Shamans wear Gwandae, Kunbok, Jangsam, Durumaki, and Chima-jugori. These costumes show that their wearers are priests and gods at the same time. 2) The reason why Simbang performs the ritual in different costumes at different Jaechas is that each object-god needs different costumes to represent its different character. 3) Shamans\` instruments consist of musical instruments and other instruments. Among the musical instruments are such percussions as Buk, Jing, Janggo and Sulsae. Among other insttruments are Sindo, Sanban and Yoryung. 4)Shamans think that the musical instruments have magic powers to drive out minor demons and invite gods. Sindo, Sanban and Yoryung are thought to be the symbolic instruments representing god\`s will.