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REFERENCE LINKING PLATFORM OF KOREA S&T JOURNALS
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Journal of the Korean Society of Costume
Journal Basic Information
Journal DOI :
The Korea Society of Costume
Editor in Chief :
Volume & Issues
Volume 26 - Nov 1995
Volume 25 - Aug 1995
Volume 24 - May 1995
Selecting the target year
회원 신윤복 풍용도에 표현된 복식미의 연구
Journal of the Korean Society of Costume, volume 25, 1995, Pages 5~20
The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.
Study on the Influence that the Japanese Fashion has had on the Contemporary Fashion(Focusing on the since 1980s)
Journal of the Korean Society of Costume, volume 25, 1995, Pages 21~39
By 1980, there are two main flows in the world fashion. One is the traditional Paris fashion by Houte Couture, and the other is the American casual fashion by mass production. However, the appearance of Japanese designers and their new styles on the stage of Paris fashion have had a strong influence on the change of the world fashion since 1980s. So, the purposes of this study were first to research the process, the background and the power which let the Japanese stand and suc-ceed in the stage of Paris fashion, second to research on the Fashion World and Fashion Trend from the beginning of 1980s to present (1994). The results were as follow ; Hanae Mori and Kenzo were the pioneers who let the West know the existence and the level of Japanese fashion. Issey Miyake was the new innovator in the 20th century Fashion. and became the foundation of the New Wave Fashion in 1980s. Rei kawakubo completed the philosophy of beauty by the imperfection and has led the Postmodernism in the Fashion. The constant efforts of the these Japanese designers have inspired the orientalism and Art-to Wear, showed up the new construction and material in clothing by layering and drap-ing and stimulated the traditional Paris fashion to become popular, casual and diverse. The success of Japanese designers and the boom of Japanese fashion were not only the effort of individuality but also the power of economics, the spirit of cooperation and the affection to the culture and tradition on the background. The New Wave fashion by Japanese designers in the beginning of 1980s have promoted the appearance of Avant-garde fashion in London, the new fashion spirit in Milano, and the various fashion styles of different sections in the West and East. Finally, it becomes popular in 1990s and leads the fashion spirit in the end of 20th century.
Product Characteristics of Clothing and Risk Perception and Risk Reduction Behavior of Consumers.
Journal of the Korean Society of Costume, volume 25, 1995, Pages 41~62
This research was intended to investigate how risk perception and risk reduction behavior by consumers differ according to different product characteristics of clothing. The responses of 318 female college students living in Seoul and surrounding vicinities were collected and analyzed. Inner wear, blue-jean pants, coat were selected as representing each clothing product characteristics. Frequencies distribution, regression and correlation coef-ficient were utilized for statistical analysis. Results are as follows. 1. The type of perceived risk and risk reduction behavior differed according to product characteristics of clothing. Physical and per-formance risk were more highly perceived for the purchase of innerwear. However, for the purchase of jean pants and coat, socio-psycho-logical and economic risk were also perceived highly because the rate of fashion change, social symbolism, and coordination with other clothing items become more important characteristics. To reduce perceived risk, depen-dency on past purchase experiences and shop-ping were mostly preferred method regardless of product characteristics of clothing. 2. Risk type as determinant variables for predicting overall risk differed according to product characteristics of clothing. But fashionability and usefulness were common deter-minant risk variables, which identifies typical characteristics of clothing product
조사도 복식에 관한 연구-전라도지역 사찰 소장 조사도를 중심으로-
Journal of the Korean Society of Costume, volume 25, 1995, Pages 63~69
The purpose of this study was to investigate to the costumes in a portrait of the Buddhist Monk of JUN-NAM's local Temple. The Kasa was used to base of the rule be-cause this was not our's own costumes. There-fore size, form, wearing-assistance ornament of Kasa were to similiar to the rule's Kasa. But in case of color were used to pink, yellow, chest-nut except the red color. A Buddhist monk's robe were putted on adapt to climate in our nation. Without special condition, a Buddhist monk's robe were used to varied color, that is grey, green, pink, blue,(light, navy) blue, chestnut etc.
Post-modern 복식의 복고성에 관한 연구-Baroque 복식의 loop와 tassel을 중심으로-
Journal of the Korean Society of Costume, volume 25, 1995, Pages 71~83
The purpose of this study was to analyze the formative costume of Baroque style and to in-vestigate the characteristic of loop and tassel which are the main factors of decoration in the Post-modern clothing in point of the characteristic of retro. For this purpose, theoretical studies about the concepts of Post-modernism and aesthetic sphere o Baroque style were preceeded. Especially the parody which is concept that is the most influencing to the contemporary art, architecture, and costume. It is the identity of the parody that is being understood smoothly the creation and the imi-tation which is contrasted each other. The parody is urging the purpose rather than the essence and the recreation rather than the originality of the original works. The synthetic results were as follows ; 1. The frequent usage of loop and tassel which was expressed in the first half of 1990's in the modern clothing influenced the aes-thetic will of aspiration about the past. 2. The characteristic of retro to the tra-ditional form constitutes a base of spiritual thinking of Post-modernism which has been expressed in 1970's afterwards. The peculiarity about the great change in the traditional concept of artistic creation in the Post-modern clothing is the very extention of a range of application about the retro in which it becomes the essence or the oppor-tunity in artistic creation.
A Study on the Improvement of Korean Policeman's Uniform
Journal of the Korean Society of Costume, volume 25, 1995, Pages 85~104
The purpose of this study is to suggest the way of reformation of the korean policeman's uniform through the precise investigation and analysis both at home and abroad. The domestic investigation was carried out through the research into the concerned documents on how to emprove the policeman's uniform, the investigation into the focused group interview not only for the policeman but also for policeman's uniform, the analysis on the domestic policeman's service in general and the similar uniforms inside the country. The overseas-research was accomplished by visiting six different countries such as United Kingom, France, Belgium, Italy, Germany and Japan while interviewing and analyzing on their own uniforms respectively. The result of thes survey indicates that Korean Policeman's Uniform is comparatively lacking in dignity, functionability, uniformity and symbolic representation of Korea. In conclusion, this study suggests the way how to improve Korean Policeman's Uniform as follows : 1. To pursue the simplification and the uniformity 2. To give the functionability and flexibility by seasons and functions. 3. To inspire the symbolic character and the dignity of policeman's own.
A Study on the Literature of Chinese Shroud
Journal of the Korean Society of Costume, volume 25, 1995, Pages 105~118
Chinese shroud through literature are as follows. 1. Taetae, SimeI, P'oo, Hansam, Ko, Mal, Nukpaek , Kwatu, Ch'ungi, Pokkn, Myokmok, Ri, Aksu, Mo and m were used the most in China. 2. The cloths of Chinese shroud were p'o, Paek , Kyon and Kum. The colors of the Chinese shroud were Hyon, Hun and white. 3. The size of the Chinese shroud is as follows . The size of the Ch'ungi was similar to the size of jujube kernel, the length of Myokmok was one Chk two Chn or one Chk two Chn or one Chk five Chn, the length of Aksu was one Chjk two Chn and it's width was five Chn. The chil of Mo reached the hands and the length of Swae was three Chk and the length of m was five Chn. 4. In Chinese shroud, , cotton was put in P'oo. Aksu was tide by the strings at two corners. Myokmok was tied by the strings of four corners. The tip of the m was divided and Mo warpped the whole body. 5. The clothes of Soryom was nineteen Ch'ing. The clothes of Taeryom in Kum were one hundred Ch'ing in the Chinese. The impliment of Soryon were Kum, kyo, SangeI, SaneI, Ch'im , Yok and Kyon in the Chinese shroud. In the case of the implement of TAeryom, the chinese shroud had Kum , Kyo, SangeI, Sane, Ch'im and Yok.
A Study on thed Literature of Chinese Shroud
Journal of the Korean Society of Costume, volume 25, 1995, Pages 117~118
Chinese shroud through literatures are as follows. 1. Taetae, Sime i, P'oo, Hansam, Ko, Mal, Nukpaek, Kwatu, Cu'ungi, Pokk n, Myokmok, Ri, Aksu, Mo and m were used the most in China. 2. The cloths of Chinese shroud were p'o, Paek, Kyon and Kum. The colors of the Chinese shroud were Hyon, Hun and white. 3. The size of the Chinese shroud is as follows. The size of the Ch'ungi was similar to the size of jujube kernel, the length of Myokmok was one Ch' k two Ch'on or one Ch' k five Ch'on, the length of Aksu was one Ch' k two Ch'on and it's width was five Ch'on. The chil of Mo reached the hands and the length of Swae was three Ch' k and the length of m was five Ch'on. 4. In Chinese shroud, cotton was put in P'oo, Aksu was tide by the strings at two corners. Myokmok was tied by the strings of four corners. The tip of the m was divided and Mo wrapped the whole body. 5. The clothes of Soryom was nineteen Ch'ing. The clothes of Taeryom in Kun were one hundred Ch'ing in the Chinese. The impliment of Soryom were Kum, Kyo, Sange i, Sane i, Ch'im, Yok and Kyon in the Chinese shroud. In the case of the implement of Taeryom, the chinese shroud had Kum, Kyo, Sange i, Sane i, Ch'im and Yok.
의복형용에 따른 가치평가에 관한 연구
Journal of the Korean Society of Costume, volume 25, 1995, Pages 119~132
The purposes of this study were to consider the aesthetic side in the clothing positively, search the relationships of the preferance and the aesthetic factors in the general costume of body form, analyze consumer's characters against the value evaluation factors. Stimuli and questionaries were used in this study. The stimuli were twelve color photographs on clothed bodies differing in the degree of beauty and function. The scales were chosen to measure variables refering to sundry records, prediminary exam-ination. The following null-hypothese were estabilished for this study. Ⅰ. Viewer's preferance for the general 4 costumes of body forms will haved significant relationship with aesthetic factors of clothing Ⅱ. Value evaluation factors of clothing will be significantly different according to the vari-ous viewer's characters. Data were abtained from 160 females stu-dents. The data were analyzed by using spsspc+ program-correlation coefficient, one-way ANOVA and scheffe-test. The results were as follows. Ⅰ. The viewer's preferance for general 4 costumes of body forms has significant re-lationship with aesthetic factors of clothing Ⅱ. Value evaluation factors of clothing are significantly different according to the various viewer's characters.
A Study on Pattern Making of Women's Beoson by Using a Computer
Journal of the Korean Society of Costume, volume 25, 1995, Pages 133~144
The purpose of the study is to develop a computer program for making patterns for women's traditional Korean stockings, Beoson, Thus, the IBM 386 DX computer, the HP DROFT Pro Plotter, and Auto LISP language are used in this study. The procedures for the automated drafting can be summarized as follows : 1. A Beoson pattern was selected. 2. 39 co-ordinate points necessary for designing patterns of Beoson were established. 3. A program for drafting the pattern was developed ; refer to Table 1. 4. The Program was designed by inputting individual body measurements (foot length, foot circumferenceI, and foot circumfer-enceII) and angle(30 degrees). 5. Beoson patterns were made very correctly and quickly by using computers.
Embroideries in Shoso-in of Japan and their Maker
Journal of the Korean Society of Costume, volume 25, 1995, Pages 145~155
After I stated the kinds of ancient embro-ideries of Shoso-in and the other places in Japan, including Silk embroidered design of a bird, Silk embroidery on a silk ground, and Buddha preaching. I searched for the possible countries they could have been made in. I found that Japan merely imported the dyes and paints from Korea, On the other hand, Korea unlike Japan, was capable of manufac-turing the embroderies from early times. The embroideries in Shoso-in and the other place, have respectivly on them the old Korean types of patterns such as flowers, lotuses, flying clouds, phoenixes, intertwined lions, houses, ghost masks, fairies and turtles, seen often on the titles of Silla.
조선시대 여자복식에 나타난 배색 연구
Journal of the Korean Society of Costume, volume 25, 1995, Pages 157~169
The confucianism, the Taoism, the Budd-hism and the Folk-Faith actually coexisted and all of them had also widespread infuluence on the Chosun Society. This thesis is designed to study symbol of Color Scheme expressed in the clothing of Chosun dynasty. For this thesis I examined records of Royal archives, books containing lifestyle of Chosun dynasty, genre paintings, documantary pain-tings, excorcist clothing and existing remains. And I synthetically studied symbol of the Clothing Color Schemes in Chosun dynasty on the bases of theoretical researches. The result were as follows. There were many cases of 1. Upper·lowergarments : Red-Blue, White-Blue, White-Blue Color Schemes. 3. Exorcist clothing : Red-Red, Blue-Yellow, Blue-Blue Color Schemes. 4. Multy-colored stripes : Same color arrange-ments were avoided in Color Schemes. In the case of Green Wonsam, Blue-Red-Yellow-White Clothing Color Scheme was obvious. 5. Dance wear : Red-Blue, Yellow-Red Color Schemes. Generally more than anything else Blue-red Clothing Color Scheme was widely used. Be-sides Blue-Red Color Scheme, there were also many cases of Red-Yellow, White-Blue Cloth-ing Color Schemes. As a whole, compatible Color Schemes were more often used than in-compatible Color Schemes were used with various symbols that were based on color concept of Yin-Yang O-haeng, Tae-il theory Folk-Faith and so forth in Chosun dynasty.
A Study of the Impact of Display on Decision Making Process of Consumers in Apparel Buying Situation
Journal of the Korean Society of Costume, volume 25, 1995, Pages 171~181
The purpose of this study was to evaluate the display as an information source use, and to find out the reaction of adult women to dis-play and perceived risk and influence of it in apparel buying. 511 college students, housewives and work-ing women living in Masan, Jinju and Sam-chunpo were selected as samples for this re-search. The result of this research can be sum-marized as follows : 1. Display was in the second place as infor-mation sources use exercising influence on ap-parel buying. The most important imformation sources use was the apparels of other persons. The other's apparels provide valuable aid as an imformation sources use for housewives, and display are important for college students and working women. 2. The ways of response were different ac-cording to the sample. Working women said that looking at the display gives pleasure to them, and they were attracted to sight of dis-play and housewives usually walk into the dis-play room. The point of interest in display were also different according to the samples. 3. All respondent said they perceived some kinds of risks in display. Howsewives reco-gnized social and psycological risk and working women recognized the economic risk and fashionability loss. 4. In apparel buying, college students showed impulsive purchase, but housewives and working women made comparision with other shopping place before they buy it.
고구려인의 복식문화고찰-집안지역 고분벽화를 중심으로-
Journal of the Korean Society of Costume, volume 25, 1995, Pages 183~199
Among many different approaches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by including political , militarial , economical , cultural , and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes according to peoples social status. Generally people in high social status wore clothes with detailed decorations invariety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physical activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed it role to affect the clothing styles in Kokuryo. Based on old studies of costume, this study focused on people's life styles that included hunting and weaving . Hunting clothes were differentiated by decorating wit feathers . Jowoguan(조우관) is one of the examples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect , this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however men and women wear were claryly distinguished. Unlike other clothes that were restricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume . Monks wore black clothing (내의) that was influenced from China and the Western Regions(서역). To emphasize their religious power, Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of fire and agriculture wore simple dresses without much decorations which represented simple life style of working class.
고구려인의 복식문화 고찰
Journal of the Korean Society of Costume, volume 25, 1995, Pages 185~199
Among many different approches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by in-cluding political, militarial, economical, cul-tural, and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes accord-ing to peoples social status. Generally people in high social status wore clothes with detailed decorations in variety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physi-cal activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed its role to affect the clothing styles in Kokuryo. Baseed on old studies of costume, this study focused on people's life styles that included hunting and weaving. Hunting clothes were differentiated by decorating with feathers. Jowoguan is one of the exemples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect, this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however means and womens wear were claryly dis-tinguished. Unlike other clothes that were re-stricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume. Monks wore black cloth-ing that was influenced from China and the Western Regions. To emphasize their religious power. Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of five and agriculture wore simple dresses without much decorations which represented simple life style of working class.
A Study on Self-concept, Shopping Orientation and Store Patronage Behavior of College Women's Fashion Life-style Segments
Journal of the Korean Society of Costume, volume 25, 1995, Pages 201~213
The purposes of the study were (1) to seg-ment the female college apparel market based on fashion life style and (2) to develop a pro-file of each segment regard to self-concept, shopping orientation and patronage behavior. The data were collected through questionnaire by random sample of 526 female college students. By cluster analysis of lifestyle factors, three groups were identified, (fashion leaders, fashion followers and fashion aversion) Three groups were then compared through multivariate analysis of variance and chi-square statistics on 10 self-concept variables, 6 shopping statistics on 10 self-concept variables, 6 shopping orientation factors and 1 patronage behavior variable. Significant difference were found among the three groups on all these variables which indi-cate that fashion lifestyle can be a useful base for segmenting female apparel market and these groups are unique in terms of self-con-cept, shopping orientation and patronage behavior.
Architectural Fashion Design Interpreted by Semiotics
Journal of the Korean Society of Costume, volume 25, 1995, Pages 215~231
Semiotics is an external expression for show-ing internal meaning, and the signs express the internal meaning. The architects and the designers are very similar each other in using semiotics for expressing their desires. Histori-cally, the design similarity exists between the architecture and the fashion. In this study, the fashion designs are interpreted by using semiotics of architectural design, especially emphasizing external expression methods for representing internal desires. To express the human body's character-istics, the volume, weight support, structural simplicity, controllability and beauty of fashion were used for the fashion designs, and those characters could be found at the architec-tural patterns. Balenciaga's fashion emphasized the volume, the weigh support, the structural simplicity and the controllability, while Roberto Capucci rejected the approach of using women's body curves, but used the volume and simplicity of natures in addition to Balenciaga's heavy weight design patterns. The control and the modern dedication were used to make the simple patterns by Courreges, and then brought the Modernism to the fashion. Courreges used the cutting characters to func-tional design for expressing the structural sim-plicity.
A study on Life Style and Clothing Involvement of Elderly Women
Journal of the Korean Society of Costume, volume 25, 1995, Pages 233~247
The objectives of this study were to classify the contents of clothing involvement, to group elderly women into life style types. A method of this study was face to face re-search and questionnaire. Questionnaire was comprised of four sections : 18 Likert type items of clothing involvement measure ; 26 Likert type items of life style measure ; 3 items of clothing purchase measure ; and 3 demographic variables. Samples were 215 elderly women(60∼79 years of age) in Seoul, Korea. The data were analyzed using factor analy-sis, cluster analysis, one-way ANOVA, Dun-can's multiple range test,χ2 test. The results of the study were the follow-ings. 1. Four factors of clothing involvement derived by factor analysis : F.1 'clothing pleasure'; F.2 'clothing symbolism' ; F.3 'perceived risk in clothing purchase' ; F.4 'clothing interest'. 2. Four factors of life style derived by factor analysis : F.1 'active-leisure';F.2 'confidence oriented';F.3 'appearance interest';F.4 'house-work interest and community conciousness'. Three types of life style were defined by the cluster analysis of the 4 factors : T.1 'passive stag-nation'; T.3'outside activity'. 3. There were significant differences in clothing involvement factors according to life style types. Outside activity type perceived 'clothing pleasure' highest level among 3 life style types. Outside activity type and house-work and positive living type perceived 'cloth-ing symbolism' and 'clothing interest' higher level than did passive stagnation types. 4. Elderly women high in educational level were more distributed in outside activity type and the low in educational level in passive stagnation types. 5. There were significant relationships be-tween life style types and source of a clothing allowance, clothing purchase frequency, and a companion of dress store.
A Study on Parody Expressed in Modern Fashion
Journal of the Korean Society of Costume, volume 25, 1995, Pages 249~268
Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the pos-ition of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of par-ody. For these purposes, documentary studies about parody in literature and art which had been discussed more often were preceded as a framework of this research. framework of this research. Basedd upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind or critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal mean-ing and the shift from its place (i.e. displace-ment). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer's will and expression is necessarily required. First, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mackery, satire, irony, paradox by changing the form of the original through imitation with similarity, transformation, exaggeration, em-phasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unex-pectedness by applying the original to inappro-priate subject through its substitution, inver-sion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other context. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL, Yama-moto, Castelbajac, Gaultier, Mugler, West-sood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of originality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus it differenciates from copy which is uncritical mimicry.
A Study on Chosun period burial clothing in 15th to 17th Centuries
Journal of the Korean Society of Costume, volume 25, 1995, Pages 269~284
This study investgates the significance of Chosun burial clothing in 15th to 17th Centuries by examing the costumes recorded in the ryesu (ritual books). Referring to description of the mouring-rit-ual in the the Kujoohryei(국조오례의), the sangryebiyo(상례비요), they exhibit little differ-ence in the ceremonial procedure, this implies that the the Jujagarye, the oldiest Chinese Ryesu, had influence on the manner of Chosun. The Kujoohryei(국조오례의) written-in 15th Century played a paramount role in domesti-cation of burial costume(염습의) which had been performed by the Jujagarye(주자가례), and the sangryebiyo(상례비요) etc written between 16th and 17th Centries promoted to genealize the mouring-ritual to the ordinery people. In the period, ryemsupui(염습의, clothing for the dead) is costumes for 'sup(습)', sofyum(소렴), and 'daeryum(대렴)' in the mourning ceremorial procedure, and for postliminal rites in the rites of passage. The reason of using clothing which they put on the dead's own daily clothing stands for eagerness for lasting life not only in this world but also in the other world.