韓國傳統服飾의 特徵硏究 : 一般服飾의 構成과 着裝을 中心으로 centering on composition and putting on the clothing of general costume = A Study on the Characteristics of Korean Traditional Costumes

다국어 초록 (Multilingual Abstract)

According to the division into periods of Korea. I had studied the characteristic of traditional Dress and its Ornament in its composition and its figure of putting on the clothing. After having examined with priority given to the mural. T'oyong(a figure made of ground), Mokyong(a figure made of wood), the pictures and the materials of remains, I have come to the following conclusion.
1. The wearing manner of Tugo^n(a hood), Yu-Ko(coat-trouser), Yu-Ko-Po(coat-trouser-overcoat), Yu-Ko-Sang-Po(coat-trouser-skirt-overcoat), Tae(a belt) and Hwa-Ri(a footwear) is its composition of Koguryo^ that comes out through the mural of the period of the Three States. and I have estimated the underclothers to be put on in the inside of the Yu-Ko in those times.
Yu is composed of Kil(a large section of clothes forming the body). Somae(a sleeve), Kit(a collar), So^p(outer collar), So^n(an edge) and Tti(a belt), and Ko composed of a fork, Mit(a bottom), a waist and a rope, and Sang composed of a width, a fold, a waist, a rope and So^n, and Po is equal to the composition of Yu, But it is impossible to observe the existence of Mu(a reinforcing cloth strip).
All of them are the cutting of a straight line and the same sewing, but the sewing of a slant line in part. Putting in the clothing is its figure composed to per-pendicularity, and this makes us have a feeling of sensitiveness, strength, straight, sharpness, activeness and a funtional beauty. In the proportion of putting on the clothing is felt the stable beauty near to the golden proportion by Yu-Ko, Yu-Sang(Kun), Yu and Tae(a fastened belt). But in its figure of T'oyong of the peroid of United Silla is also felt the element of beauty of So^ngdangpung, because the proportion of its length is changed for a man's manner of dressing of Tanryo^ngpo(an overcoat with round collar) and for putting on woman's Kun upper to Yu, is adjusted for wearing of Pyo(an over-coat put on at most outside) and is increased the beauty of a soft curve.
2. It is difficult to conclude only by the observation of Mokyong of the period of Koryo^, but I have estimated that there is not a great difference of the form, the composition and the style of putting on the clothing between the period of Koryo^ and the Three States.
And I see that at that time were there some changes in the Dress and its Ornament according to the political and social change of Koryo^ without finding out its material, and that the change was preponderated in the bureaucracy and, if there was, it was a style of the line-age of a Northern Mongolian Garment.
3. In the period of Choso^n is seen the dressing of a trouser and a coat, of a skirt, a drouser and a coat, and the wearing manner of various overcoats through a genre painting. It also seems that a belt and a coat string coexist, and that a coat and an overcoat are composed of Mu, Kyo^tmagi(doings to reinforce a part of armpit by adding a cloth), Kyo^tpadae(doings similar to Kyo^tmagi) and Tongcho^ng(a collar attached to the top border of a Korean coat), and that a trouser of Sapok(a cloth attached to the slant line of the right part). There is a multiplicity in Sgae(a material for the head), as if Tugo^n, Rip(a traditional cylindrical Korean hat) and Kwanmo(an official hat), and a footwear of Hye-Ri(a kind of footwear).
After the middle of Choso^n it is happened a tendency to the simplification of Yu, to the curve of Kit, Somae and Toryo^n(a lower part of Yu), to the middle-wear(lower-wear) of the wearing manner, to the deep and holding-up adjustment a skirt and to the putting on a belt.
The proportion of putting on the clothing of a short coat and a long skirt is adjusted well by the wearing manner of them. Therefore we can feel not only a particular smarthness and stylishness of the traditional Dress and its Ornament, but also a stable beauty.
In the man's manner of dressing is there a tendency of a curve, a figure of a long and wide Po, and a harmony of the proportion between the gentlemen and the commons. Anyway there is reflected a noble and economical stylishness.
In the present age, the tense period of the war had a tendency of a coat's depth and skirt's shortness and narrowness. In the period of the economic development(1960-1970's) there was an exaggeration to the expansion of a sleeve and a skirt by the decoration of a gold foil and an embroidery and in the stable period of the society(in the 1980's) it has been come out a stable and harmonious beauty of them. Our traditional Dress and its Ornament has changed into the harmony of a straight and a curve. In conclusion, the line's beauty of Dress and its Ornament exists in the harmonious beauty that happens to the process of a soft propitiation between a straight and a curve, for example, the harmony of Tongcho^ng, the harmony between a straight of Somaesan(arm hole) and a curve of Paerae(a sleeve of the arm), and the harmony of the skirt's composition(straight) and the adjustment(curve). Therefore our style of the trousers and coat(man) and the skirt and coat(woman) has not changed until now, and to form a clear definition to the traditional clothes, it is necessary to harmonize with the wearing manner, its beauty and the heart of a dresser.

목차 (Table of Contents)

• Ⅰ. 序論
• Ⅱ. 三國時代服飾의 構成과 着裝
• 1. 服飾의 構成
• 2. 服飾의 着裝
• Ⅲ. 高麗時代服飾의 構成과 着裝
• 1. 服飾의 構成
• 2. 服飾의 着裝
• Ⅳ. 朝鮮時代服飾의 構成과 着裝
• 1. 服飾의 構成
• 2. 服飾의 着裝
• Ⅴ. 結論
• 參考文獻
• Abstract