• 복식문화연구
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• 제32권4호
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• pp.481-501
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• 2024

This study aims to analyze the traditional embroidery in Korea, China and Japan based on Pierre Bourdieu's cultural theory, habitus and field. We conducted literature and case studies examining the late Joseon Dynasty, Qing Dynasty, and Edo Period, respectively. Based on previous studies, we reviewed three fields: social systems, goods and economy, and environmental and regional. We also explored art, culture, and national tastes as habitus. We then examined each country's embroidery practices through these lenses, and the practice of habitus is as follows. We determined that traditional Korean court embroidery in the late Joseon Dynasty was characterized as controlled elegance, while private embroidery reflected earnest simplicity. During the Qing Dynasty, traditional Chinese court embroidery depicted sumptuous power, while private embroidery portrayed harmonious splendor. Finally, traditional Japanese embroidery in the Edo period reflected symbolic natural beauty and exaggerated comic beauty. As a result, Korea, China, and Japan have had a relatively close geographical location and a similar climate environment zone, and since ancient times, many cultures have been exchanged with each other. However, it seems that the characteristics of traditional embroidery have developed slightly differently due to the practice of habitus, which was caused by of the conspiracy of field and habitus of the three countries. The significance of this study is expected to explain the relationship between the birth and extinction of costumes and embroidery by establishing a systematic and objective framework for aesthetics research.

• 패션비즈니스
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• 제2권3호
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• 복식
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• 제15권
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• pp.149-166
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• 1990

Korean clothes is traditional folk costume native to Korea, Which is in Korea clothes. The past Korean costume was developed in the native costume, together influenced by chinese costume. But in the late Yi dynasty the contact with western countries brought about a turning point in Korean costume history, with rapid growth of economy since Korean war in the 1950's, the magnification of industrial structure, the development of productive technique, transformation of consumption pattern and the development of communication have been increased concerns for the western costume. In 1953 the introduction of nylon which was imported from Japanese brought about a fuming point in clothing habits. In 1967 the development of the fiber industry got a firm stand in ready-made clothes. Consequently our traditional Korean clothes was regarded as nonfunctional, nonproductive and it was pushed out of daily life little by little and it was deprived of the function of ordinary costume by the influence of western costume. But in these days the Korean clothes appears as the desire of pursuing traditional style in addition to mordern style of Korean clothes.

• 한국의류학회지
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• 제48권2호
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• pp.193-210
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• 2024

The portrait featuring Jo Ban(1341-1401), a scholar-official from the late Goryeo and early Joseon period, and his wife is the oldest surviving couple portrait in Korea. It is of great value in uncovering the clothing culture of the period given the limited number of historical artifacts and records. This study examines the historical clothing and textile patterns of Jo Ban's wife and reproduces them using 3D fashion design software program CLO. She wears jokduri, chima, and baeja over layers of jeogori, a mixture of traditional Korean and Chinese styles. Her clothing illustrates eight patterns-one flower, five geometric, and two cloud. Records and relics of similar periods show that flower and geometric patterns in her clothing follow the prevailing styles of Goryeo, while the cloud patterns are representative of early Joseon. These details are used to reproduce six different styles of Jo Ban's wife with CLO tools. Various visualizations of textile patterns are applied to materials, generating a more realistic look than her existing 3D character created with the portrait. Results of this study are expected to help promote the use of Goryeo clothing and patterns in numerous designs and enhance intuitive understanding of Goryeo clothing based on 3D visualization.

• 복식
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• 제64권7호
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• pp.29-44
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• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• 한국의류학회지
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• 제41권2호
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• pp.212-223
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• 2017

This research investigated the screen printing method for natural indigo dye on cotton fabric. We examined four types of thickening agents (arabic gum, guar gum, indalca, and CMC) based on their ability to retard the oxidation of natural indigo print paste while the paste remained on the screen frame. The results indicated that the retardation of arabic gum towards oxidation was the greatest among the four types of thickening agents. The highest K/S value of the printed cotton was observed with a dye concentration of 50g/L fermented indigo powder. The best printing results were obtained when the duration of dye efficiency was tested for the 10 minutes of the dye paste remaining on the screen with a thickening agent concentration of 26.56% that represented 530 cps viscosity. The test of colorfastness to washing and rubbing of the printed cotton resulted in grade 5, and the colorfastness to sunlight resulted in grade 4. Chinese traditional Naminwhapo printing was reproduced on cotton fabric using the natural indigo printing method derived from this study.

• 패션비즈니스
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• 제15권2호
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• pp.23-38
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• 2011

This research is to examine the formative of patterns and characteristics of expression in Danzhai Miao batik of Guizhou China and to reveal the cultural factors and characteristics of artistic expression inherent to it. As the research methodology, theoretical study was done by utilizing the preceding research data, literature data at home and abroad, photo data, and Internet data, and as the empirical research, field trip was made to Guizhou China and investigation and experiment of dyeing techniques, purchase of dyeing craftworks, photography shooting, and interviews were conducted. The results of this research showed that ancient Chinese batik began in Miao in the Jinhan era and the three types of Miao's traditional batik, i.e. Danzhai batik, Huangping batik, Anshun batik. Danzhai Miao batik obtained indigo blue white patterns through traditional production techniques and natural dyeing batik and represented Miao batik of Guizhou. In the expression of Danzhai Miao batik, based on the cultural backgrounds, the formative such as symbolic of patterns, tradition, primitive, reality, abstract, and decorative of dress designs and high dignity of artistry of creative batik patterns be found from the aspect of expressing magnanimous nationality.

• 한국의류학회지
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• 제25권8호
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• pp.1398-1407
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• 2001

The “Changzu”(footbinding)was an old chinese traditional custom practiced during more the thousand years and was applied to only woman. It prevents young girl’s foot from growing when she is 3 to 8 years old by big toe and forcing her to were the lotus shoe called LIANXIE. In china, the feet and shoe had special symbolic meaning other than usual simple of supporting body and protecting the foot, they are symoblic aspects of implication interal new meaning. In this study was investigate the internal meaning symbolized by Changzu from various perspectives such as religious, aesthetic, and group unconsicous aspects. In conclusion, the Changzu is a symbol that representing a dilemma which on one hand women would like to attract man physically while on other hand woman should be chaste and modest morally. And aiso it is group image representing groups unconsicous desire to preserving the artificial identity bestowed upon Chines woman by Chines man.

• 패션비즈니스
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• 제6권1호
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• pp.71-82
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• 2002

The purpose of this study was to correctly understand the costume of Qing dynasty in the court painting. The starting point of this study was that the painting typically reflects the cultural values, social significations, costume and aesthetic outlook of that period when the paintings were done. Based on this regard, this study analyzed the costume of figure paintings in the court painting of the Qing dynasty that complied and edited by the Palace Museum. The court dress of Qing dynasty represented not only the spiritual world of Manchu tribes but also the influences of Chinese traditional culture. The court dresses of Kangxi and Qianloug showed definitely the luxury of life of Qing court. The everyday dress of Qing dynasty reflected the nomadic environments and it was very simple. The hunting dress of Qing dynasty was very developed and also represented horse riding and hunting activities of their traditional life. The ladies of Qing dynasty enjoyed to dress the costume of old Chinese style. The appearance of noble women was fragile and slim.

• 복식문화연구
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• 제31권6호
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• pp.776-792
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• 2023

This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people's clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe's shamanistic practices and lifestyle.