• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.5
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• pp.855-866
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• 2016

This study explored the concept and use of two kinds of textiles goods (Cheongpo [blue textile] and Samseung) sold by Cheongpo-jeon merchants in the Joseon Dynasty of Korea. Research was conducted based on an analysis of relevant documents published during the Joseon Dynasty. The Cheongpo-jeon was a merchant group that predated 1637. They sold various imported goods such as Cheongpo, Samseung, cotton textiles, felts, hats, incense, and needles. Cheongpo and Samseung were the main products among these imported goods. Cheongpo was a blue cotton textile imported from China that was sold by Chengpo-jeon merchants. The Samseung sold by merchants was a kind of imported textile whose surface provided a feeling like cotton flannel. The concept of the two textiles were different from existing ideas. Generally, the Cheongpo was believed to be a hemp fabric dyed in blue and the Samseung was a textile with a density of three seung (a traditional density unit of textiles). Cheongpo was used as a currency for war supplies during the two Japanese invasions of Korea (1592 to 1598). In addition, it was also used to make military uniforms, tents, and flags after the Japanese invasion. Samseung was used in the combat uniforms of Chinese soldiers from Ming China during the Japanese invasion of Korea. In addition, it was continuously used to make quilted gambeson amour and some of military uniforms until the $19^{th}$ century.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.124-136
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• 2009

This Study is on the Punggongyubodoryake. Punggongyubodoryak was the records and pictures written by Ohgyeongmun(吳景文, Painter) and Gangbonpungeon(岡本豊彦, a Japanese painter, 1773~1745). in 1832. Those records and pictures were about the gifts which Korea's King(宣祖, 1567-1608) sent to Doyotomi Hideyosi(豊臣秀吉, Pungsinsugil) in 1590. Most of the gifts were of the Korean costume, which meant that Korea recognized Doyotomi Hideyosi as the new general of Japan, Tokugawa Shogunate(幕府將軍). The pictures of every Clothing in punggongyubodoryake described forms of every cloth and delineated ornamental patterns and sizes of clothing as closely as actual, they were clothes of the Middle period of Chosun. the author of the study inferred that it would be one of the impotent materials in the history of the Korean traditional costume. Among the clothes, there were several danryeongs(단령, ceremonial coat), okgwan (玉冠 woman headdress with) and paeok(佩玉, pendents with jade stings) and choongdan(中單 ceremonial undercoat) and Sang(裳, ceremonial Skirts for man), gyeontongsuseulran (肩通袖膝襕, chinese coat) was recorded in punggongyubodoryake. they were not a set of clothes for ceremonial costume but a mixture of men's and women's costume, of korean and abroad styles. the author inferred that this phenomenon was actually a good proof that the gifts were sent to Hideyosi only as courtesy, which meant for downgrading the receiver.

• Korean Journal of Human Ecology
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• v.15 no.3
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• pp.405-416
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• 2006

We, in this thesis, examined the similarities and differences of bat patterns in China and Korea, along with a consideration of how two peoples understood bats and how their understanding of bats developed and also influenced the bat patterns. As for research period, the Ming(明) dynasty and the Qing(淸) dynasty in China and the Chosun dynasty in Korea were considered. The subjects of this study included clothes, personal ornaments, and embroidery. This research was done by comparing and analyzing the similarities and differences of two countries' bat patterns. The results of comparing and analyzing Chinese and Korean bat patterns were as follows: In terms of similarity, people of two countries understood bat patterns as the symbol of happiness. Therefore, they were used in clothes, personal ornaments, and daily necessities. In terms of difference, bat patterns of two countries had different shapes. In China, colorful and realistic single bat patterns were shown as intensive composition, whereas in Korea plain and simple bat patterns were used. These differences resulted from different way of understanding of bat patterns. It can be concluded that the bat patterns can be a great cultural commodity with high commercial values, if the traditional pattern is used as a unique element of the Oriental designs and altered and developed to attract consumers' attention.

• Journal of Fashion Business
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• v.20 no.6
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• pp.79-93
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• 2016

Since the development of patterns using tessellation is applied to a wide range of fields such as clothing, architecture, environment, and products, etc. and its expression principle is also found in various fields such as mathematics and science, etc. However, this pattern is mostly used as a math material with little studies on fashion and culture. In addition, it is thought that Korean traditional culture products need more various and modern design development methods and pattern through preliminary investigation which is simple copy of traditional items, simple copy of Korean Alphabet, Chinese character, and folk paintings. Therefore, it will present the method to make more design cases using Tessellation. Tessellation that combines mathematics and art will be the infinite form of designing of designers as well as creative training way to understand the composition principles of old culture and to raise sense of modern design. Tessellation of regular triangle, regular square, and regular hexagon was performed on the patterns which have meaning of wealth and prosperity of Korean traditional patterns. As the concrete method, first, each side of the regular triangle is developed symmetrically with patterns of fish, turtle, and cicadas. Second, rotational movement after symmetry movement about middle point of one side ${\times}$ 1 symmetry movement about middle point ${\times}$ 1 using crane and cloud, of the regular triangle was performed. Third, the regular square was tessellated parallel movement ${\times}$ 2 with "Da(multi)" and dragon pattern as the source image. Fourth, the sitting tiger was tessellated with symmetry movement about middle point ${\times}$ 2 and parallel movement ${\times}$ 1. Fifth, three bat patterns are tessellated by again rotational movement of two sides after rotational movement of one side and rotational movement of the other side. In addition, It developed traditional culture product design of the scarf, umbrella, aprons, neckties.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.704-716
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• 2008

This study aims to explore the creation of fashion design that embraces the diversity of human culture by examining oriental images that appear in the modern fashion with a focus on new paradigms that significantly affect human life as the latest trends, and by reflecting the trends of the times. The results of this study are as follows: First, this study examined that with regard to paradigm, a theoretical frame to view universe, the dichotomous, determinist, mechanism, linear paradigm collapsed to convert to undetermined, exoteric, pluralistic, indeterministic, organic, and holistic paradigm. The new paradigm is identified to have emerged before and after 1950s, and through the new paradigm, the characteristics of postmodernism such as historicality, popularity, locality, folkways and the characteristics of deconstructionism, internally mutual text, post phenomenon, undeterminability and externally exposure, destruction, poverty, decomposition and analysis, were identified. Second, the Orient is defined as the generic term referring to the entire Asian areas east of Turkey. Through the developmental process of oriental images, it was converted from the Oriental image, which mysteriously and romantically represents oriental elements, into the ethnic image that represents long time oriental traditions and indigenous culture together with the characteristics of the new paradigm. Third, the artistic characteristics of the Oriental costumes presented by Korea, China and Japan are expressed in developmental types, T-type plane structure, layered style, asymmetrical adjustment and easy silhouette, and they show indigenous characteristics of each country, for example, Chinese styles in dragon pattern, red and yellow, Japanese styles in flower design and achromatic color. Fourth, the Oriental Image, combined with the postmodernism and deconstructionism through the new paradigm, has two: one Oriental image highlights traditional elements by creating new Oriental image such as natural image, folk image, hybrid image and deconstruction image; and another is undetermined and vague by combining or decomposing Oriental or Western elements. It is expected that fashion designs that reflect these contexts of the times will contribute to the strengthening of international competitiveness.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.147-153
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• 2021

Baekje patterned Pyojihwajomoonkeum is a fabric that expresses Baekje's unique culture possessed by Shosoin(正倉院) in Japan. Reflecting the close exchange relationship with the Chinese Southern Dynasties, these patterns are suitable as good examples to grasp the forms and atmosphere that prevailed during that era. Through the analysis of many pieces, it has been identified that the patterns were unique to Baekje. With an aim to ascertain and restore the original form of Pyojihwajomoonkeum, designs were proposed utilizing Pyojihwajomoonkeum as a form of storyteller clothing that fits the modern sense. Fabric was designed by continuously repeating the colors and patterns of Pyojihwajomoonkeum upward, downward, leftward, and rightward and woven with a Jacquard loom. The fabric woven was dried, processed, and used to make a total of four pieces of storyteller clothing consisting of men's wear, comprising a jeogori and pants, and women's wear comprising a jeogori and skirt. The top jacket was long enough that the hip is covered. It has wide sleeves and linear decorations were attached to the collar, lower edge of sleeve, and bottom hem. The pants are wide legged, the top is wide, and the bottom hem had linear decorations attached. What is the most important when using the original form of a traditional culture is processing the raw materials following cultural traditions to create value. Costumes of an era are the combination of individual elements and represent the culture of that era. Therefore, a consideration of the origin and prevailing ideas of the era must be considered. It is anticipated that this paper will serve as a basis for leading such a process, followed by studies on the utilization of the original form of Baekje culture.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.57-72
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• 2005

Mongdueui(蒙頭衣) and mongduri(蒙頭里) in the Joseon dynasty was one of women's robe. The style of Mongdueui was same as Chinese baeja(褙子 $\cdot$ vest) having non-overlapping front opening with collar, This form was conformed through the wonsam excavated baeja from tomb of South Song dynasty. The basic construction was same as Joseon dynasty's except the collar. In the early Joseon dynasty the noble women wore Jangsam(長衫) as an outer wear, the common and lower class women wore Mongdueui, and the queen and royal household we baeja. The court lady wore baeja as well as Mongdueui for funeral ceremony. The style of women's robes was classified into two categories by the literature Byungwajip(甁窩集). The first was the hongjangsam(紅長衫長) in red for noble women. The other was the mongduri for the common lady. Whangchosam the outer wear of Jeongjaeyong(呈才女伶), a professional women entertainer, having non-overlapping front opening with collar, has been examined in the painting. And it had been evolved into the shaman's clothing in the last stage of Joseon dynasty.

• Journal of Korean Medical Ki-Gong Academy
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• v.11 no.1
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• pp.284-325
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• 2009

This study aims to investigate the educational significance in modern education by analysis on the contents of taboo in the Korean traditional prenatal education. For this study, the concrete matters are prepared for investigation as follows: First, the contents of prenatal education are analyzed with special reference to the Chinese bibliography and the Korean bibliography related to its own traditional prenatal education. Second, the contents of taboo in prenatal education are broadly classified into Chun-ki(天忌), Chi-ki(地忌), and In-ki(人忌), and in turn, In-ki is classified into taboo related to clothing, taboo related to food, Taboo related to housing, and man's taboo, and all of them are interpreted. Third, the characteristics of taboo in the Korean traditional prenatal education and its principle are analyzed, and its significance is researched from the modern educational point of view. This study attempts to classify the contents of taboo into Chun-ki, Chi-ki, In-ki, and man's taboo based upon analysis of the documentary records related to the traditionary prenatal education in China and Korea for the successful investigation. The characteristic such as common discipline, the time limit and prevention are induced on the basis of this investigation, and its modern educational significance as follows: First, prenatal education must be conduced as a part of youth education and preparatory parents education for the married couple. Second, man or husband plays a very important role of practising taboo in prenatal education. Third, taboo in prenatal education is very suggestive in the aspect of human relationship and mental health of the pregnant woman. Fourth, it prevents her obesity and strain. Fifth, the scientific proof and education of taboo related to food must be needed.

• The Research Journal of the Costume Culture
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• v.22 no.1
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• pp.16-27
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• 2014

This study investigated the characteristics of and changes in hemp textile production practices at Gurye in Jeollanam-do in modern times. To do this, in this study, both a literature review and fieldwork research were utilized as research methods. The literature review focused on Gurye's hemp data, and the fieldwork research involved two separate trials. Male and Female residents of Gurye who had experience in the area of hemp production from the 1920s to the 1980s participated in this study. The results were as follows. First, regarding hemp fiber cultivation in Gurye, hemp cultivation continued to the 1970s and there were no changes in hemp cultivation practices during the Japanese colonial-era. Second, there have been very important changes in hemp kilns over time. In the 1950s, there were both single-body kilns and separate-body kilns in Gurye. Later, specifically in the 1950s, a new type of kiln using an iron pot appeared, and the most modern kilns were concrete structures. Third, in Gurye, women cooperatively removed hemp husks immediately after stemming, subsequently bleaching the hemp by soaking it in lye or caustic soda. Over time, there have been changes in ash types and in soaking periods. Fourth, loom types changed from the traditional Korean back-strap loom to the treadle loom in the 1930s- to 1940s. Fifth, since the 1970s, the hemp textile output levels of Gurye have been reduced due to the westernization of clothing styles, the inflow of Chinese hemp fiber and government regulations pertaining to hemp cultivation.

• The Research Journal of the Costume Culture
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• v.29 no.3
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• pp.328-345
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• 2021

The aim of this study is to investigate morphological characteristics of Hanbok images in children's books and propose a direction for the modernization and globalization of traditional culture. This study examines 43 children's books by contemporary foreign illustrators that contain Hanbok illustrations and analyzes them from postcolonial perspective. The results include the following three attributes: first, the transformation of clothing structure and donning method that confuse fundamentals of Korean costume; second, the Westernization of silhouette drawing with tailored garments analogous to Western dress; and third, extension to East Asian dress that represents Hanbok mixed with Chinese or Japanese costume and use what is considered to be the East Asian patterns instead of Korean traditional ones. These attributes are based on Eurocentrism, which expresses and interprets the East from the Western view point with continuously distorted image of the East. Korean illustrators also painted Hanbok incorrectly, which could influence foreign illustrators. Nevertheless, traditional dress illustrated in various ways has artistic value and has a popular global impression. Further, it enables children to experience either own or other cultures through dress illustrations. Thus, the outsider requires an in-depth understanding of other cultures, while the insider needs a critical perception of their own culture as described by others while revisiting the original resources. Furthermore, we suggest follow-up research on Hanbok for subsequent generations; publishing translated books on various topics, producing and disseminating a primer for diverse readers, and essentially receiving counsel from experts.