• Journal of the Korean Society of Food Culture
• /
• v.24 no.2
• /
• pp.117-125
• /
• 2009

The present study examined the import routes of distilled rice liquor soju and how soju developed among the royal family and the upper classes using celadon inscribed with poetry related to alcohol beverages in the 12th century, Maebyeong style vases inscribed with government office name in charge of alcohol beverages of the royal family in the 14th century during the Koryo Dynasty. Distilled rice liquor was imported from the southwestern region to Koryo by Arabian merchants through direct and indirect routes in the Yuen Dynasty during the age of King Chungsuk and King Chunghye in around the 14th century. As soju was added to existing takju and cheongju, the three major types of alcohol beverages were completed during the late Koryo Dynasty. Celadon pitcher inscribed with poetry shows the delicate sentimentalism, aristocratic prosperity, and poetic sentiment. In particular, it is valuable in that it reflects Koryo people's mind, view of nature, and attitude toward alcohol beverages, and their inner world was also described with celadon patterns. Maebyeong style vases Yangonseo, Saonseo, Deokcheongo, Euiseonggo and Saseonseo, which are real celadon antiques inscribed with government office name, were used for rice liquor preservation. In particular, Maebyeong style vase has the exact year of creation, so it is a historically important celadon in research not only on alcohol food culture but also on art history. This shows that alcohol beverages were important foods that there were controlled and stored in celadon by the government offices for the royal family's related alcohol ceremonies. Through celadon inscribed with poetry and government office name displaying Koryo people's unique imagination and cultural consciousness, we can read their mind and lifestyle based on historical and social alcohol food culture in the Koryo Dynasty.

• Journal of the Korean Home Economics Association
• /
• v.25 no.1
• /
• pp.19-34
• /
• 1987

This thesis is for the study of hair style and consciousness concerning Korean awris hairs. Our nation had been originally considered to be a people without decorating their hairs. The adults however used a bundle of hair which was twirled, and the bachelors wore original hair befor wiman chosun in B.C. 194. Since then this twirled bundle of hair had been consistently used until the end of the chosun period from the Three-Kingdom period, except Mongolian hair style which was used for one hund-red years during the Won's oppression period at the time of Koryo. The bachelor's hair style not being adorned was developed into that of twirled bundle of hair which was used for on the Three-Kingdom period to the Koryo period, but this was also transformed into the current hair style ？ mainly to the decree of short-cut hair style in 1895 and the prevolent western clothes. The origin of meins hair style in Korea was a hair without decoration which was same as that of Ski-tie people in Western country, but our style was different from that of Manju and Mongolian people who have same kinship relationshup. And our nation was greatly influenced by the Chinese culture in view of the Twin-Knats style of the unmarried. Our people's consciousness uwderlying in hairs shows resped for seniors, standard between dults and adolescents, magics, and desine for ornaments.

• Journal of Korean Society of Archives and Records Management
• /
• v.1 no.2
• /
• pp.159-183
• /
• 2001

The praying sentences of the script of Saddharmapundarika-sutra NO.5 which was made by prayer Bang-Ui, prince Ik-An, was investigated and the cover painting, Byonsangwha(Buddha's preaching painting), and letter style written in the script were discussed in this study. The cover painting on the script is known to be followed to the style of the cover painting as shown in a set of 7 rolls of Saddharma pundarika-sutra of the Horim Museum collection. It is not so difficult to say that the characteristics of cover painting of the script would be suceeded to those of scripts of the end of Koryo and the early Choseon Dynasty. Lotus and its surround was decorated with arabesque figure whose stems were drawn with golden paste and the arabesque figures were done with silver paste. However, for the expression of lotus and arabesque pattern the special feature of drawing style that was originated from the end of Koryo Dynasty to draw the outline with broad line and/or the hardness of drawing line became much more deepened than ever. It is not different to think that this characteristics should be those of Choseon Dynasty. On the Byeonsangwha(buddha's preaching painting) the painting of scattered flowers on stairs of Sumera-Mandala and the scheduled clouds (underseen from heaven) were as similar as to the Byeonsangwha style of the end of Koryo and the early Choseon Dynasty. However, the image of Shakyamuni and/or the halo(光背) is nearly same as the characteristics shown on the Beonsangwha of Saddharma pundarika-sutra of Nesosa' collection, a set of seven rolls which was completed in the 15th year of king Taejong(AD 1415). It is apparent that these characteristics are those of Choseon Dynasty. After king Chungsean in Koryo Dynasty, letter style of Chao Meng-Fu was shown in the script of late Koryo Dynasty as a new letter style.

• Journal of the Korean Society of Costume
• /
• v.58 no.10
• /
• pp.52-64
• /
• 2008

The purpose of this study is to analyze the characteristics of Seon that was expressed in the costumes of worldly figures illustrated in Koryo Buddhist paintings. Findings of the study can be summarized as follows. Out of the above mentioned costumes, except those for Buddha and Bodhisattava, most were actually worn by people of Koryo. Shown in the paintings, the patterns and decorations of Seon are more brilliant and diverse in part of worldly figures than in that of Buddhist figures. For men, Seon was mainly used to robes for Buddhist priest while, for women, costumes for the queen and noble women. Seon was applied to costumes for both men and women, especially Po for ritual purposes. Besides, it was sometimes used to Buddhist priests' robes and women's Banbi and chima. The patterns of Seon were usually single in composition style and scattering in arrangement style. Whether applied to costumes for men or women, Seon usually had complementary colors that were harmonized.

• Journal of the Korean Society of Costume
• /
• v.57 no.1 s.110
• /
• pp.39-49
• /
• 2007

The purpose of this study is to analyze characteristics of each of the types of Seon which was expressed in costume of worldly figures illustrated in Koryo Buddhist paintings. The types of 'Seon' are largely classified into Standard and Application types. Among these types, standard type are reclassified into the types of same color and no pattern, different color and no pattern, same color and pattern and different color and pattern. And Application type is reclassified into the types of Buseon, wrinkle, feather and leaf, Regarding styles of Seon, most costumes for men and women used Seon of Standard style, especially that of different color and no pattern style. In addition, costumes for men more often used Seon of Standard style, especially that of different color and pattern style. While, costumes far women more often used Seon of application style, especially that of feather or wrinkle style. Seon was practically used to reinforce the edge of clothes, whether for men or women, and at the same time, and at the same time decorated the clothes brilliantly. In regard to aesthetic qualities of clothes in accordance with types of Seon, clothes having Seon of same color and no pattern type was natural and simple and different color and no pattern type, artificial and simple, same color and pattern type, natural and brilliant and different color and pattern type, artificial and brilliant. And costumes having Seon of Buseon type was decorative and simple, wrinkle type, sophisticated and dynamic, feather type, voluminous and dynamic and leaf type, brilliant and dynamic.

• Journal of Fashion Business
• /
• v.2 no.3
• /
• pp.157-165
• /
• 1998

In Koryo Dynasty Pyonbokpo(便服抱) was worn by both sexes. There were four styles that was Yosunchollic, Dappo, Pol, Poll, of the men's Pyonbokpo(便服抱). Double breast style (重据形) was used for the adjustments of these clothes. Neckline and he-m line were substituted by rectangular collar (목판깃). The width and length of sleeves in Yosunch-ollic was tighter and shorter as general Po. Coat-string (Okgolum), side slit were used. Feminine Pyonbokpo (便服抱) had usually same style of men's one. There was one was back longer than front length. They wore it with or without a belt. Knot-button, Coat-string (Okgolum), White straight collar (DongJung), side slit were used.

• KOMUNHWA
• /
• no.22
• /
• pp.33-71
• /
• 1983

• Journal of the Korean Society of Clothing and Textiles
• /
• v.16 no.1 s.41
• /
• pp.111-122
• /
• 1992

Studying the dress style of the Buddhist Goddess of Mercy SU WOL KWAN EUM DO (Drawings on the Buddhist Goddess of Mercy who is watching the Moon reflected in the still water), it is composed of a splendid, jewel crown with five colors, a light and flimsy, non-colored veil with many kinds of gold·plated patterns. This gold·plated carapace figures on a scarlet ground are drawn on the veil and the oval-type flower figures mixed with a scarlet lotus blossom ard arranged. An arabesque pattern of BOSANGHWA (an imaginary, Buddhistic flower figure) is mainly used for both line decorations and necklace. Like this, various kinds and types of figures are in harmony in spite of many changes in figure design. The SU WOL KWAN EUM DO in Koryo dynasty is full of colorful, subtle, harmonious figures which are unique style, which cannot be found in japan, China, and so on. In other words, most of most of dress patterns which are shown in SU WOL KWAN EUM DO are China ink paintings with mountains and waters as its setting. In case of color painting, figure designs are seldom used. The dress pattern in SU WOL KWAN EUM DO of koryo dynasty is characteristic of its variety and magnificent colors.

• Journal of the Korean Society of Costume
• /
• v.38
• /
• pp.73-82
• /
• 1998

There are two styles of Yoo(; ) Sang(;裳) in Koryo Women. One they wore the Snag(;裳) over the Yoo(; ), the other wore the Yoo(; ) over the Sang(;裳). In the Yoo(; ), Double breast styly was used for the adjustments of these clothes, Neckline and hem line were substituted by rectangular collar (;목판깃). Knot-button, Coat-string(;Okgolum), White straight collar (DongJung), side slit were used. In the Sang(;裳), Chimaheri(;치마허리)was mades of another fabric and Chima-string was dropped.

• Journal of the Korean Society of Food Culture
• /
• v.29 no.6
• /
• pp.499-510
• /
• 2014

This study examined the food culture of the Koryo Dynasty during the early 13th century based on the records of wooden tablets and marine relics from the 1st and 2nd ships of Mado wrecked at sea off Taean while sailing for Gaegyeong containing various types of grain paid as taxes and tributes. The recipients of the cargo on the 1st ship of Mado were bureaucrats living in Gaegyeong during the period of the military regime of the Koryo Dynasty, and the place of embarkation was the inlet around Haenam (Juksan Prefecture) and Naju (Hoijin Prefecture) in Jolla-do. On wooden tablets were recorded 37 items of rice, cereal, and fermented foods. The measures used in the records were seok [石-20 du (斗)] for cereal, seok [15 du, 20 du] for fermented soybean paste, and pot (缸) and volume (斗) for salted fish. The places of embarkation on the 2nd ship of Mado were Jeongeup (Gobu Prefecture), Gochang (Jangsa Prefecture, Musong Prefecture), etc. On wooden tablets were recorded 29 items of rice, cereal, fermented foods, seasame oil, and honey. The volume measure for yeast guk (麴), the fermentative organism for rice wine, was nang [囊-geun (斤)], and the measure for sesame oil and honey, which were materials of oil-and-honey pastries and confections, was joon (樽-seong, 盛). Honey and sesame oil were luxury foods for the upper-class people of the Koryo Dynasty, and they were carried in high-quality inlaid celadon vases in Meibyung style. Food names and measures written on wooden tablets and actual artifacts found in the 1st and 2nd ships of Mado are valuable materials for research into agriculture, cereal, and fermented foods of the Koryo Dynasty in the early 13th century. Besides, relics such as grains and bones of fish and animals from the Koryo Dynasty are expected to provide crucial information usable in studies on food history of the Korean Peninsula.