• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.176-191
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• 2014

This article focuses on the late 19th to early 20th century gat, the Korean top hat for men, to understand the diverse meanings behind the hat. During the late 19th to early 20th century, the Joseon Dynasty (1392~1910) was plunged into confusion and turmoil as it was nearing its end. It was a period of drastic changes in regards to philosophy and ideology. To that end, the hats of society mirrored such changing times, as well as the differences in the awareness of Joseon's internal subject entities and external observers. Based on the analyses of the relevant documents, this study takes a multi-faceted approach to the process in which traditional Korean hats, which were once a symbol of the Joseon civilization, became reduced to an outdated object, as well as observing the awareness and attitudes of the entities involved in such a pivotal process.

• 지역과문화
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• v.7 no.3
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• pp.23-48
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• 2020

Hahoebyeolsingut Talnori, which is under permanent performance, has lost its relevance to folklore and rituals of the villagers and has secured the possibility of change depending on the actor's choice. This article seeks to expand the current stuck performance of Hahoe mask play, which has great significance as a play and play for the audience. To this end, We studied the possibility of expanding the performance of Hahoe Talnori by trans-identity of the Choragi. Chorangi character derides yangban, seonbi and monk, who are representatives of the establishment. Those who have a consciousness of potential transformation, those who passively represent the masses, and those who are tacitly authorized by the audience to ridicule the ruling class. The audience feels exhilarated by the super-cool, but at the same time reduces the limits. We transformed Chorangi who is clever but cannot overcome the limits of his status, into a character with a sense of transformation by applying the method of turnning identity and changing identity of the theory of trans-identity. And I applied the method of expansion of the media conversion storytelling theory to create a new Chorangi Madang that conforms to the audience's needs and the spirit of the times. In addition to the performance of Yangban Seonbi Madang(Act of Nobleman and Scholar) which ends with an ambiguous reconciliation, we wanted to complete it in a way that even today's audiences could accept by applying the function of the Hahoebyeolsingut Talnori ambassador and the principle of implementation. And We writed it in a script. This article is meant to be an experimental study that attempted to transform traditional performing arts in the context of new creation of tradition. Preservation and transmission of traditional performing arts are important, but it is necessary to move forward according to the trend and spirit of the times.

• The Journal of Natural Sciences
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• v.8 no.2
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• pp.289-321
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• 1996

After the two big wars (Imjin Woeran and Byungia Horan), the Lee Dynasty confronted rapid transitional periods in almost all aspects of the society. Corruption of the governmental system by the wars and disordered social structures also caused confusion in the social position system. In addition, development of the commercial economic system and monetary economy brought up a new rich middle-class, "Joong in Gyegeup". In ideological aspects, Confucianism indulged in and stick to isms and ics, and the Confucian morality slackened, thus a more pragmatic ideology, "Silhak Sasang", developed. And the emergence of the modern literature and art of the 'common people' was followed by the appearance of the common-people class including those having the common-people concept among the noble-class "Yangban Gyegeup". This evoked a new common costume culture and the fashion appeared. The public could no longer find the power and appeal from the preexisting ruling classes due to the changed role and sense of value. Thus, they sought a new symbolic leader group that would to be the new standard of the newly changed society. That was a group of people called as "Kisaeng" liberal and independent. They were performing social activities, enjoying poetry, music and dancing, and classy dressers, having physically attractive bodies. The erotic as well as luxurious mode proposed by them reflected the trend of that time. It concurred well with the concept and taste of the public, so it was accepted with a good response. That is, by following these leaders, the public achieved their identification and tried to share the prestige of the leaders. For this reason, the Kisaeng group attracted the public attention and led the taste of the public, thereby becoming the influential fashion leaders of that age.

• Journal of architectural history
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• v.23 no.5
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• pp.7-22
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• 2014

It is identified that an initial person who built of 'Seoul Gyedong Modernized Hanok(former Min Hyeong-gi house)' used as 'Bukchon Culture Center' in present, was not Min Hyeong-gi, but his wife, Yu Jin-gyeong, and she built it when 8 years went on after his death(1879~1973), and the construction year was at the gate of Chuseok in 1921. Yu Jin-gyeong was Head Family's Eldest Daughter-in-law in family of Yeo Heung-min who was an influential person at the late Joseon Dynasty and was widow who had only son for 3 generations. And she built this house and moved to gain daughter and live futher grandchilds together in law in new nest. It is arranged that an annex surrounds with main building as the central figure. And this house emulates Yeonkeong-dang in backyard of the Changdeok Palace for 'preservation of main building' and Chim-bang-ga-toe applied on a bedroom in a palace is applied around nobleman family's the main room. It is rare case and expresses that a palace factor is borrowed. Yu Jin-gyeong's house is that a tradition Hanok is adjusted closely in city and central and basing mode as 'protective bedding' and building concept as 'a noble and protective architecture' is realized. So it has a character that development of Hangrang architecture is appeared and Head Family's Eldest Daughter-in-law widow of modern upper class had a special benefit. As well as, a meaning that it is experimental house based on tradition and is build of Hanok with housekeeping as the central figure for appear a form which has minimal Hangrang for housekeeping in yangban family of modern city, can be found.

• Journal of the Korean Society of Costume
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• v.4
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• pp.39-59
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• 1981

This article briefly researched the Picture of Welcoming the Governor of Pyongan Province painted by Kim Hong-do, penname Danwon(1745-1818?). The Picture was composed of three parts and its historical and pictorial back-ground were reviewed firstly. And later the dress and its ornament appearing on the Picture were studied. In the historical viewpoint of dress and its ornament, the Picture shown all sorts of dress from lower class maids and servants to higher officials-dignatories and governor, and dealt with nearly all dresses. In order to support and to make better understand the dresses of that age, some Korean literary works of the same period depicting the dress and its ornament were also selected. This article dealt with the dress and its ornament. especially that of 18th century of the Yi Dynasty, and comparatively studied for our folk painting with literary works. Also the picture enabled to make this study was an important data of our old dress and its ornament. This painting was considered as one of our cultural treasures. Several conclusions drawn out from this study as followings: 1) In male and female dress of lower class people; male dress was consist of trouser and coat, and coat, and over the coat SOCHANGYI were used. Female dress was basically consist of skirt and these were white color of their favourite. Mainly simple color was used for clothing and its dress style were CHAKSOO-HYONG (narrow sleeve style) which convenient for a work. 2) Yangban's dress was consist of trouser, coat and over the coat, usually DOPO(over-coat) were used and some case JICKRYONGPO (a sort of over-coat) or CHANGYI were also used. These were GWANGSOO-HYONG (wide sleeve style) of inconvenient for a work. 3) In head-gear, there was no difference of the higher and the lower. They usually used HEUC-KRIP (black Korean hat). The OCKJUNGJA, GONJAKMI (peacock tail), HOSOO (tiger beard), and YOUNGJA (chin strip) were used according to officials ranks as head-gear's oraments. 4) Local petty officials used ordinary dress and CHUPRI (warn-dress) were also used by them, and military officials used war-dress of tight sleeve. 5) The belting of over-coat are different in color according to official grade. The higher grade wore red-wide belt, but generally black narrow belt for ordinary officials. 6) All KISAING girl wore SAMHYEOIJANG upper coat. And their head ornament were black KARIMA for grown KISAING. SAYANG hair for DONGKI or maiden KISAING and BINYEO (an ornamental rod of women's hair) were inserted into the hair of rear down part of head. The water carring maid wore BANHYEOIJANG upper coat and no KARIMA were on head and their coat were gloomy color. Above mentioned are several conclusions, and there migh be a false or erroneous explanations of 18th century dress and its ornament, however I considered they were data for blank period of quite unknown.

• (The)Study of the Eastern Classic
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• no.69
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• pp.349-371
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• 2017

"Hajaeilgi(荷齋日記)" was written by Ji Gyu-sik, a gongin of Saongwon(司饔院)'s branch, almost everyday for 20 years and 7 months from January 1st, 1891 until the leap month of June 29th, 1911. It deals with many different areas including domestic and foreign circumstances, custom, rituals, all the affairs related to the branch, and also everyday life events he did see or hear about. Particularly, Ji Gyu-sik did not belong to the yangban class, and we can hardly find diaries written by such class' people. Here, what this author pays attention to among the things written in "Hajaeilgi" is the contents about folklore. Ji Gyu-sik wrote in his "Hajaeilgi" about things related to folklore, for example, seasonal customs, folk plays, rituals, or folk beliefs that were actually practiced then as a person not belonging to the yangban class. Such diaries are rare, and its value is highly appreciated as a material, and it is meaningful in the aspects of folklore as well. Therefore, as part of the work to look into folklore found in "Hajaeilgi", this author focuses on national rituals and folk beliefs in it. The things that have been discussed earlier can be summed up as follows: About national rituals, it is sorry that it only deals with the emperor's enthronement and emperor and crown prince's birthday in garye(嘉禮); however, it is meaningful to know that the people faithfully carried out national ceremonies and celebrations then. Particularly, it is noteworthy that during the national ceremonies or celebrations, students were asked to sing the national anthem. About hyungrye(凶禮), only it deals with the court funeral rite. Aside from Minbi's funeral rite, the court funeral rite was performed properly at the right time according to the procedure like before, and also, it seems that the people fulfilled it faithfully by order of the government. Also, it can be learned from it that Japanese killed Minbi, burned the body with oil, and left the ashes behind. About folk beliefs, the branch held a memorial service at the shrine of the town regularly. The town, too, performed Gocheongsinsa each year. The money needed for the memorial service was collected from the town people differently according to their financial situations, and they prepared for jesu for the ancestral rite altogether. The memorial service was carried out in Sansindang or Bugeundang, too, and it was common that they summoned a shaman to perform a gut. The diary is valuable as material. After being a Christian, Ji Gyu-sik once tried to abolish sinsa jesa held in hoesa and get rid of saesin(賽神), that is, a gut or pudakgeori, but he had no choice but to follow the precedent. Meanwhile, it is also noteworthy that when the town suffered from floor and infectious disease, Ji Gyu-sik installed an altar in front of his house for the town's wellbeing and health, prepared for jesu including offerings and drinks, and held a memorial service to Hwangcheonhuto(皇天后土; the gods of heaven and earth) accompanied with the town people. Also, when he had any hardships in his family, Ji Gyu-sik summoned a shaman for a gut or offered a devout prayer to the mountainous god. Such shamanism or the things like worshiping Gwanseongjegun(關聖帝君) mostly in the beginning of January and telling fortunes about the year were all folk beliefs. This was very popular among the people, and it seems that it was deeply rooted in his life as well. Also, Ji Gyu-sik supported Fengshui beliefs, and it seems that it is not different from the people's general tendencies, either. As described above, "Hajaeilgi" dealing with national rituals and folk beliefs in it is valuable as material and is meaningful for research on forklore, and moreover, it is also significant in the aspects of forklore as well.

• Journal of Korean Classical Literature and Education
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• no.33
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• pp.211-253
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• 2016

Depending on the class and status, literary works are variously accepted and interpreted. As a result, they show different forms and ways of enjoying the novels and different variations of a text. The only ideal way of investigating and analyzting it is to meet someone who actually lived in that era. This study tries to investigate the enjoying aspects of the classic Korean classical novels by studying how the classical novels have been enjoyed in Northern Gyeong-Buk Area, especially in Cheongsong. It is a follow-up study of cases studies based in Yeongdeok, Uljin. As a result, one can come true the conclusions. In the case of Cheongsong, the Northern Area and Southern Areas show differences in their modes enjoying the Korean classical novels. The Northern Area has a strong expresses self-confidence and pride, and forms solid enjoying groups. However I could hardly find any such cases in the Southern Area. And the entertaining aspects of the classical novels are enjoyed by individuals rather than entertainers. It shows that there have been many difficulties in the culture of in taking-root classical novels as a firm ludic culture in Cheongsong. Furthermore, this survey can identify a duality of entertainers genres conception to enjoying Ga-sa and classic the Korean classical novels. The entertainers who haves read only the classical novels has not hidden ashamed of themselves as readers and entertainersof them. But the entertainers who are proud of the self as enjoyers of Ga-sa tried to dissimulate hide the fact that they read of the classical novels, because they think that a narrativity and fictitiousness, incredibility of the novels are disproportionate inappropriate to their for dignity as members of Yangban(兩班) families, and are in stark contrast to the morality and seriousness of Ga-sa.

• Journal of the Korean Society of Costume
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• v.41
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• pp.95-105
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• 1998

SOO-BAL(Hair Style) is a method Which match hair style to face and clothes with using hair covering and protecting the head. Also SOO-BAL includes personal ornaments using to avoid one's hair be disheveled. In a standpoint of beauty and spirit, etiquette SOO-BAL is a very important thing as one being dressed up. Until now, since just a form of hair style have been studied, hair styling process is nothing to be known and studied. Time after time, our unique traditional SOO-BAL is forgotten with clothes and then this th-esis will be classified hair styling form follow-ing a form of hair style in royal palace of the C-hosun dynasty. According to the record of HAE DONG HISTORY, it shows the same of attire between Ko-rean and chinese style in ae of the chosun. The reason in that there were no any certain boundary border and the interaction of culture between two countries was happened spontaneously at ancient time like the GOCHO-SUN age. Until the period of the three states, the korean attire be changed had gone with chinese one s-imilarly. The chinese form gave to influence on the EONJIN MEURI·POON-GI-MYEONG MEURI·JJO-CJIN MEURI·MOOK-EUN GOONG-BAL MEURI·OL-LIN MEURI·SSANGSANG-TU ME-URI be drawn wall painting in the KOKUR-YU. And a gold chignon accesso-ry unearthed in a MOO-RYOUNG royal mausoleum is proof of the korean attrire be changed with chinese. In the shilla dynasty at three years after Cjin-Deuk(A.D. 649) reign. It was recorded that the dynasty let women wear the form of chinese attire. Also in the koryo dyn-asty, a rod-like hairpin (BIN-YEU) and DANG-GI employing EON-JIN MEURI was used. The SOO-BAL based on the Confucianism had lots of regulations which limited to use ornaments with classes of society in the CHOSUN dynasty. Until YOUNG CHO and CHUNG CHO period. EONJIN MEURI be decorated GACHAE was announced by dynasty as ind-ulging in luxury. Women of yangban used a rod-like hairpin and a chignon accessory made by jewerly. And 1-owly women weared a rod-like hairpin made of born and wood to perfom EONJIN MEURI with PUNCHAE. Most unmarried women decorated with DDA-AH-NEULIN MEURI, GUI-MIT MEURI, specially in palace with SAE-ANG MEURI. At palace, one put on a full dress with KEUN MEURI, and a simple dress with ER-YEO MEURI be decorated DDERL-JAM The CHOP-JI MEURI manifested social rank, class. Kids at CHO-SUN age had BA-DUK-PANMEURI and JONG-JONG MEURI. The ornament things are GACHE, DDERL JAM with EON-JIN M-EURI, and all kinds of rod-like hairpin and chignon accessory used in JJOK MEURI. IN DANGGE, JE-BI-BURI DANGGI used by ummarried women. DO-TOO-RAK DANGGI and AP DANGGI on a dress suit, and BE-SSI DANGGI used by 3∼4 years ungrown kids etc. were used. And at palace, kinds of CHUPJI used with JJOK MEURI showed social rank. In CHOSUN age, women want to keep shiny hair washed at TA-NO festival day, a treatment of bald hair used a forked remedy. In CHOSUN age, woman Soo-Bal hair style has DAE-SOO·DDEU-KOO-JI MEURI·CHO-P-GI MEURI·EON-JIN MEURI·SAE-ANG MEURI· and so on. We could find out Soo-Bal was developed very well by these variety hair styles. I attatched all of the hair style pictures step by step, and also explained detail my research foll owing these pictures.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.