• Title/Summary/Keyword: upperclass

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- The Cultural Life Study of the Housekeeping Space of Chosun Dynasty Upperclass Housing - (조선조 상류주택의 가사공간에 관한 생활문화적 고찰)

  • 이길표
    • Journal of the Korean Home Economics Association
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    • v.31 no.1
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    • pp.225-239
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    • 1993
  • The purpose of this study is to look for the basic formative elements of housekeeping space of our cultural life which are worthy to succeed and develop by revaluating in modern view and to reveal what we should maintain form the women's view of the housework in those days. In this study, out look on Chosun Dynasty housekeeping is based on the norm of the women in those days. The research on the housekeeping space for norm of the women in those days. the research on the housekeeping space for Chosun Dynasty upperclass is focused on the house built from early till late Chosun Dynasty, which is now a cultural asset. As a result, norm of Chosun Dynasty have created a social wide atmosphere for women to devote herselves to the housekeeping. Moreover the constructions of Chosun Dynasty's upperclass are affected by Korea's natural environment and socio-cultural environment. Primary factors for natural environment are building materials and the change of seasons. Because of changeable seasons, there were places for storing massive commodities. The other primary factors for socio-cultural environment affecting housekeeping space were social positions, and extended family system, worshipping the ancestors standard of living, the theory of“Poong Soo”(風水, a kind of geomancy) and thought of“Yin and Yang, Five Elements”(陰陽五行) and popular belief of that time. Affected by these two environments, the characteristics of housekeeping space for Chosun Dynasty are ; the main building of the house was used as a diverted area for women to work, and was reconstructed for household affairs. There were inefficient points in the housekeeping space of that time and the space remained stagnant because of the restricted sex and the social position of housekeeping doer. But you could find some points that are efficient and functional to adjust in those living conditions. The storehouse, storage barn, shed and soyjar terrace are the specialized storing place, according to the kinds and characteristics of the commodities. the kitchen, for example, is the combinations of many abilities. It is not only for cooking or heating the room, but also for storing drinking water. The hall which was the storing place, housekeeping place and also the place for family events are used as a diverted place. The linked arrangement of kitchen, store house, boudoir and the other rooms. In addition, we can see that the construction of the kitchen for more than tow people could work in.

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A Study on the Women′s Underwear in the Later Chosun Dynasty (조선후기 여자속옷에 관한 연구)

  • Yoon Hyun-Jin;Cho Woo-Hyun
    • Journal of the Korea Fashion and Costume Design Association
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    • v.6 no.3
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    • pp.169-183
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    • 2004
  • This study attempts to understand women's underwear culture in the Later Chosun Dynasty, by investigating the kinds and constructions of them, which formed bulky and puffed silhouette of the lower half of the body. In the middle 17th century in Chosun, Confucianism settled down as fundamental idea of society, while whole country achieved considerable economic growth. As a result for upperclass women, female virtues was demanded more than any other period in Chosun. On the other hand, lower-class women including Kisaengs, had more freedom on their clothing behaviors. According to the literature on women's dress institutions and restrictions of the extravagance, the use of kinds of high-quality silk and false hair was criticized, compared to women's clothes in China. From this, one can see the luxury and affluence of women's clothes at that time, which also reflected in luxurious underclothes. Also, the movement of class, by economic development, led to changes in the costumes of middle-to-lower class women, relaxing restrictions on clothes. Underclothes included Bosomband(가슴띠; long sashes for bosom to wrap), Sokjucksam(속적삼), and Sokchogori(속저고리; Korean blouse, worn under the chogori) for upper garment, and Darisokkok(다리속곳; basic underwear like the panty), Soksokkot(속속곳; underwear paji to be wide of hem), Sokpaji(속바지;trouser front and back opening), Tansokkok(단속곳; large size underwear like Soksokkot), Noronpaji(너른바지; paji like the skirt or paji bulky than tansokkot,), Mujigi무지기; tiered skirt for underwear), and Daeshumchi'ma(대슘치마; Korean underskirt, shape hem as a pad into form) for lower clothes.

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A study of the classic Sijo(時調) concerning the productive life (생활 표현의 고시조 연구)

  • Jeon, Jae-Gang
    • Sijohaknonchong
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    • v.26
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    • pp.151-185
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    • 2007
  • The main industry of the Chosun dynasty was farming, which was related to the people's lives in every respect. By the end of the Chosun dynasty commerce was a new industry becoming increasingly more beneficial. I study how these two industries were being expressed in the classic Sijo. The classic Sijo is a main literary genre created by the upper-class. Even though industry was very important for sustaining the Chosun dynasty, Confucian scholars and government officials(members of the upper class) didn't actually work in the industries of farming and commerce. But sometimes they returned to their rural hometowns, because they owed large amounts of land which they let the servants farm for themselves. As the main composers of Sijo were these Confucian scholars and government officials, I study a collection of their Sijo which expresses the life of industry. In order to achieve this goal, I analyze several sides of the classic Sijo : for example, its writers(along with their personalities) throughout different periods: the point of view of persona; and the specific life of industry and the way it is expressed in the Sijo. First, I look at the writers of the different periods and their personalities. During the fourteenth century to the seventeenth century, the main writers of Sijo on the life of farming were Confucian scholars and government officials. During the eighteenth century to the nineteenth century, the main writers of Sijo on the life of farming were Confucian scholars, government officials, and also commoner singers-the unnamed writers. Second, I look at the point of view of persona. During the fourteenth century to the seventeenth century, the personas were the country man(one's lord and master) and the farmer, who was of two kinds of people : i.e., those trying to work together and those really working together. During the eighteenth century to the nineteenth century, the personas were the country man, who was satisfied with his rural life as overseer to farming, and two kinds of farmers : those who farmed very hard by themselves, or those who criticized the failed tax system. Third, I discuss the specific life of industry and the way it is expressed in the Sijo. During the fourteenth century to the seventeenth century, the writers of Sijo expressed, in a general way together in one Sijo, different kinds of work for example, plowing a dry field and a rice field, picking wild vegetables, and cutting rice and weed. During the eighteenth century to the nineteenth century, the writer of Sijo expressed different kinds of work in a more specific way, each in its own Sijo : for example, buying and selling, bringing land under cultivation for farming. weaving, digging for water, and heavy taxation. I look at three aspects of Sijo concerning industry, but there still remain several aspects of Sijo to study, such as those concerning worship of the king, and those concerning high officials, the common people, and the being of things.

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A Study of Historical Costume from the Mural Tombs of Dukheungri (덕흥리(德興里) 고분벽화(古墳壁畵)의 복식사적(服飾史的) 연구(硏究))

  • Park, Kyung-Ja
    • Journal of the Korean Society of Costume
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    • v.5
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    • pp.41-63
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    • 1981
  • The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

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