• 복식
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• 제58권8호
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• pp.184-199
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• 2008

This thesis aims to examine the formation, and the religious meaning and symbolism of Beob-Lak, which is attached to the preacher's clothing as a full dress of Won-Buddhism, which, as a new religion, was originated in Korea's historical foundation in 1916. In addition, it tries to provide the basic data for the study on Korean religious costume by examining Beob-Lak in the context of social atmosphere of Korea, which has accepted various religions. As a result, I found that Beob-Lak was originated from the different colored lines of the early Japanese Buddhist religious costume and it employed rochza as an independent component, but that the present protocol of Beob-Lak was completed by the first Jongbeobsa Jeongsan Jongsa in the late 1950s and all the religious workers have put it on with the religious costume in great worships since the early 1980s. Beob-Lak of Won-Buddhism, which employs Ilwonsang Beobsinbul as the symbol of its religious doctrine, symbolizes the succession of Beob and represents the will to repay the teacher's favors to hand down the great truth. At the center, Ilwonsan(one round shape) is the symbol of the innate place for everything in the universe, and its yellow color symbolizes the highest nobleness. I expect to see following researches which deal with the costume of Won-Buddhism from various views on the basis of this study on the formation and development of Beob-Lak, which is the symbol of formal full dress of Won-Buddhism as Korea-style new religion created over 90 years ago.

• 복식
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• 제55권8호
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• pp.48-56
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• 2005

Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Religion is the essence of human life and the source of ideas about life, the universe and existence, so they become hidden inside of the structure of culture. Dancing costumes present the process of cultural modification and acceptance more vividly than general costumes. This research shows that, among foreign cultures, it is Buddhism that most influenced Chinese dancing costume. Taoism was the Chinese native religion that played an oppositional role against Buddhism. Taoism was hidden in Chinese dancing costume in every age. Chinese dancing costume changed many times due to the import of exotic styles such as Buddhism that partially replaced the Taoistic tradition. Therefore, it is confirmed that the process of cultural importation of exotic style was different according to the social, historical, and cultural backgrounds of China during the period from the Han to the Sui and Tang dynasties.

• 복식
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• 제55권4호
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• pp.124-137
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• 2005

Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Religion is the essence of human life and the source of ideas about life, the universe and existence, so they become hidden inside of the structure of culture. Dancing costumes present the process of cultural modification and acceptance more vividly than general costumes. This research shows that, among foreign cultures, it is Buddhism that most influenced Chinese dancing costume. Taoism was the Chinese native religion that played an oppositional role against Buddhism. Taoism was hidden in Chinese dancing costume in every age. Chinese dancing costume changed many times due to the import of exotic styles such as Buddhism that partially replaced the Taoistic tradition. Therefore, it is confirmed that the process of cultural importation of exotic style was different according to the social, historical, and cultural backgrounds of China during the period from the Han to the Sui and Tang dynasties.

• 복식
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• 제19권
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• pp.83-103
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• 1992

This thesis researched the ritual dress of Korean new religions such as Suungyo, Mirubulgyo, Taejonggyo and WonBuddhism, According to kind, color, cloth and shape this thesis analyzed the ritual dress of them on the basis of its literatures. I. The results of the ritual dress of them through its literatures are as follows: 1. In case of Suungyo, there are Songwansonbok, Togwandobok, Pulmogwan, Ch'onui, Chap'ae , Yukhwangang, Pobdae, Hakp'yo and Kyonjang in its kind. In its color there are Huk, Cha, Hoe, Chahwang, Hong, Paek, Hwang, ROk, and Nam. Chemical fiber with one layer is used in its cloth. Its shape is made by a comprise between the feature of Korean dress, chuui and that of the existing dress of Confucianim, Buddhism and Taoism. 2. In case of Mirukbulgyo, Inhwag-wan, Chongbok, P'oui, Tae, Moson, Yomju and tanju are systematized in its kind. In its color there are Paek, Huk, ch'ong,Chok, Ok and Rok, Kongdan and chemical fiber with one layer are used in its cloth. Its shape has a symbolic form of Yu'Pul and son based upon Korean dress, Chuui. In its symbol Inhwagwan symbolized Confucianism and Chongbok Taoism and P'oui Buddhism. 3. In case of Taejonggyo, there are Chusabok, Sjhobok, Yewonbok, Chusamo, Yewonmo, Tae and Hwa in its kind. In its color there are Paek(main one), Nam, Huk, Chaju, Chok, Hwang and Hoe. Kongdan with both sides is elaborately used in its cloth. Its shape thken from Korean dress means the succession of the national spirit of the white-clad folk. 4. In case of won Buddhism, there are kybok and Pobrak in its kind. In its color there are Paek, Huk and Hoe---especially, both Hwangt'o and Hwang are used in Pobrak, Anyone can use cloth at his will. In its shape Kyoblk for man is Yangbok and Kyobok for woman is Tongch'ima and Chogori, a style of Korean dress. Pobrak is a form Tanryong worm with Rakja.

• 복식
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• 제56권3호
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• pp.57-72
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• 2006

Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. In the beginning, only foreigners danced these dances, but Chinese started to dance them gradually. Thus, the dancing costume showed the complete fusion of Chinese and exotic styles. Especially, in the Tang dynasty, Chinese accepted foreign culture very actively and with open hearts. They accepted foreign culture based on their traditional culture, and fused them completely. In these costumes, not one culture was prominent, but many cultures from Gandhara to East and West Turkistan and even to Persian and Hellenism were synthesized together. Chinese, in the Tang dynasty, retained on their traditional culture and modified new foreign culture into Chinese style.

• 복식
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• 제14권
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• pp.63-73
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• 1990

The thought of three religious, Confucianism, Buddhism, and Taoism, had been the mainaxis of Korean spirit of the past. This study is centered on Buddhist and Taoist costume. There have been a lot of studies on Korean costume from many viewpoints. However, there have been few approaches to the inner !"ide of it. That is to say, the research on spiritual back-ground or religious correlation has not done yet. And especially, we are wholly lacking the studies on Taoist costume. In this dissertation, I investigate how they had come to wear Buddhist costume and how it trans, on the basis of related documentary records and existing remains. I also inquiry Taoist costume which was worn at Taoist ceremony in our country, with the help of Korean books and documents and of the sources of Packwoonkwan in China. In the case of Topobyunjeung in Korean costume, in particular, we can catch the source of it only after studying the religious side of Taoist costume and Buddhist costume. As revealed in the theory of Topobyunjeung in Ojuyunmoonja-ngsango by Lee, Kyu Kyung, even old masters and great Confucianists could not know whether Topo, the ordinary clothes of the Sadaeboo, originated from Taoist costume or Buddhist costume. There have been many opinions about the origin, but even now it is true that no one has made it clear. Therefore in this dissertatio I demonstrate mainly how Topo and Hakchangeui appeared in Korean costume through Taoist costume. It is said that Taoists, Buddhists, and literary men wore Topo, Chickchul, and Chickshin in Song dynasty of China. Topo was a clerical robe of Taoists and was also an ordinary clothes. Chick-chul was a clerical robe of Buddhists, and Chick-shin was worn by Zen priests in Won dynaty. Over the Po, Buddhist wore a large robe, namely Kasa, and Taoist wore Packhakchang like Wooeui, when they attended at the religious ceremony. And they regarded such manner of dressing as ceremonial full-dress attire. The style of Topo in China was Saryunggyogeo. The is th say that they put the black Yeon along Sajoo, which are Young, Soogoo, Keum, and Keo, and that they wore Sajodae around their waists so as to let the band down in front of them. Our existing type of Topo is that of Chickryung-gyoin. The characteristics of the type are its Koreum hung on the dress, no Yeon along Sajoo, and Soopok at the back of the dress. And when they put on the dress, they wear Saejodae around their waists. These characteristics considered, we can find the source of Topo from the Po of Chickshin among Buddhist costume. Other types of Topo are those that were transformed elegantly according to our national manners and customs in our country. So-called Wooeui in Chiness Taoism is Hakchang. Originally it was made by weaving for of cranes or other feathered birds. Its remarkable feature is the wide sleeves. Later they called such a robe with wide sleeves Hakchang. Our hakchangeui has Yeon along Sajoo and a belt around waist. We can guess that the features of Topo and wide-sleeved Hakchang mingled and turned into Hakchangeui. Or it might also be that Topa worn by Taoist was regarded as Hakchang and Topa which has Yeon along Sajoo was regarded as Hakchangeui in our country. Such type of Hakchang worn by Taoists was well shown in the Buddhist and Taoist paintings among "The Pictures of Hills, Waters, and Folks" in the latter half of the 16th century. In China Hakchang with a belt around waist could not be seen. Comparing our style of Hakchangeui with the Chinese style, we can recognize the former was similar to that of Chinese Topa. From this, we gather that Topa was regarded as Hakchang, Wooeui worn by Taoists, Ascetics and True Men in Korea. Furthermore I also gather that our Hakchangeui, which has Tongjeong, Koreurn and a belt around waist, was a transformed style in our own country. From the above, we can realize that in costume the three religions, Confucianism, Buddhism, and Taoism, cannot be treated separately although they are different each other in the essential thought. We have to recognize that Korean Costume was established under the closely connected correlation among the religions and that it was transfigured and accepted according to the cultural characteristics. This study is significant in that it is the first attempt to understand Korean costume through the religous approach, which has never been made in our Korean costume studies. We are demanded even more wide and profound investigation on the religious side of costume throughout the general field of costume studies.

• 복식문화연구
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• 제9권1호
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• pp.61-72
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• 2001

Chunghahk-dong is located in a retired spot, Jiri Mountain and has been built up its won religion and culture without any exchange outside world. People in Chunghahk-dong believe in a religion called Genjungyutaosim. Forming a trinity on which mind is Taoism, body is Buddhism, and behavior is confucianism. These are the principle elements to form a village. They made their own unique cultural factor such as longhaired boys and girls, wearing traditional cloths and hat, a monastic life, folk mores and family rituals, and private school system. This shows a great deal of affection on their life style and organization and is closely connected with community and culture. Grasping a culture and behavior on clothing, it has propose to understand Chunghahk-dong properly according to this study. A method of study has a purpose to understand culture and clothing behavior precisely in Chunghahk-dong. I inquire ito clothing behavior with investigation and study of picture script. The results are as followed; People in Chunghahk-dong show unique clothing and hair style behavior based on Genjungyutao. First, men and women wear a white cloth called HanBok(Korean costume) and footwear made of rubber. Only men wear a blue vest. A grown up men wear a long coat when they go out. They are dressed in tractional cloth for a ceremonial occasion. The reason why they put on the HanBok(Korean costume) is a belief on our traditional cloth becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea become a leading country in the world. This clothing behavior is symbol of Genjungyutao and has a role of delivery system for expressing their split. Second, In sign of being a Genjungyutao men, they let their grow hair. Cutting hair is not to be a Genjungyutao men any more. There is few reason that people in Chunghahk-dong let grow their hair : First, because of importance in TanGun's ideology, they believe Korea is a first nation in the world and can't cut their hair which has grown from TanGun (The founding father of the Koran nation) Chosun traditionally. Second, Cutting their hair runs counter to the principle of nature. Third, They value their body for confucianism. They don't want to damage their body because of body from their parents. Boys and girls braid and tie up their hair and adult tie a topknot and a chignon. Wearing a YouGun(A horsehair skullcap) at home and Kat(A Korean top hat) when going out, they express as a Genjungyutao. Hemp cloth and synthetic fibers are main clothes. Also, they wear an improved HanBok(Korean costume) these days on influence outside.

• 한국생활과학회지
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• 제13권1호
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• pp.185-194
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• 2004

This study examined the characteristics of 45 sects of seven new aboriginal religious groups in Korea including Jeungsan sect, Tangun sect, Soowoon sect, Won Buddhism, Bongnam sect, Gahksedo sect, Shamanism sect that had given a considerable influence on the modem Korean society since the end of 19th century through the field study and the review of documents. The purpose of the study was to elucidate how their religious ideas were reflected in their ceremonial costumes and what characteristics these costumes had. The results were as follows: 1. The new religious groups in Korea modified or mixed the designs or the names of existing outfits to convey their ideas or beliefs through their costumes. 2. The costumes of new religious groups had common characteristics of the times, Korean tradition and ancestor worship. 3. All the ceremonial costumes symbolized the creeds and ideas of each religion in their names, designs, and colors. The names of the costumes such as Way-Robe, Law-Robe, and Ceremony-Robe, and of the headpieces such as Sky-Crown, Lotus-Crown, Ceremony-Crown, and Sevenfold-Crown, for instance, were related with Buddhism, Taoism, and Confucianism. The most common design of costume was consisted of traditional hanbok and some type of headpiece and robe for men, and hanbok modified to Western-style for women. Most sects adopted hanbok as their ceremonial costume, but they tend to simplify its design. The color scheme of the costumes reflected the influence of the Yul-Yang and Five Elements idea but the colors varied depending on seasons and occasions to suit their creeds and philosophy. 4. These religious costumes were worn at various ceremonies, ritual, and various anniversary services for the master and other dignitaries of the sect to render greater piety to those gatherings, to distinguish the sect from other religious groups, to clarify the meaning of the ceremony, and to heighten the devout feelings of the participants. Thus, the structure (the symbol, names, and types of the outfit, and their color scheme) and religious background of the costumes of the new aboriginal religious groups in Korea turned out to have inherited and mixed various elements of traditional Korean outfits and those of existing religions to symbolize their religious ideas.