저자는“교정간호사의 복장(복식)”을 실물적 복장과 이념적 복장으로 나누며 여기서 복식은 간호사의 실물 복식과 교정레짐의 이념적 복식이란 중의적 양가성(重義的 兩價 性)을 의미한다. 간호사는 공무원으로 교정레짐의 대리자이기 때문이다. 논문에서는 실물복식을 논하며 결론에서 중의적 의미를 논한다. 복식에는 휘장,문양,견장도 포함 되며 이들도 이데올르기적 언어로 제복착용자를 규격화,동질화,의식화시키며 상대방 과 제3자는 굴복할 수 밖에 없는 심리적 권력으로 작용한다. 복식(服飾)은 집단 정체성을 표현하는 시각적 언어이면서 정치사회적, 문화적, 심리 적 의미를 표상하는 부언어(副言語)이다. 계급질서복식은 가시적 거시권력 표상이나 착용자와 상대방에게는 미시권력이 여러 강도로 작용하는 제복효과도 발생한다. 복식 (服飾)과 인간관계는 문장학(紋章學, heraldry), 이데올르기, 의류학, 정치사회학 등에 서 접근되어 왔고 경찰복식 문헌연구도 있으나 교정간호사복식에 관한 선행연구는 세 계적으로 전무하다. 한국은 과거에는 사복교정간호사제도였으나 2012년부터 제복간호사인 교정직간호 사특채도 생겨 순환보직케하나 이는 간호정체성을 침해하는 제도폭력이다. 교도관과 똑같은 제복간호사 복장에는 계급장과 호전적 권력성의 상징인 해동청 문양이 있다. 높이 달린 계급견장과 해동청 문양은 파놉티콘이란 비인간적인-불철주야로 행동과 인 간의 (무)의식까지 감시하는_ 원형감시망의 메타포우((隱喩)이다. 제복화는 수용자와 착용자에는 미시권력으로 제3자에겐 대리학습적인 자기검열을 하게 하는 위하(威嚇)) 효과가 발생한다. 이는 군사주의 잔재로 수용자와 간호사 사이에 놓인 철문보다 강한 심리적 벽으로 사회유사화원칙과 간호이념과 교정이념에 위배되며 형집행법 목적에 반하는 문화지체 적인 패션파시즘이다. 수용자들은 제복간호사에 대해 간호사와 클라이언트의 관계가 아닌 “ 위계 관료적”인 교도관과 수용자의 관계로 이미지화될 수 있어 수평적 치료동 맹을 저해하며 필자가 개념화시킨 “의료적 재사회화”에도 저해가 된다. 정치사회학적으로는 일제시대의 응보적인 행형이 깊이 웅크린 잔존속에 군사정권과 권위주의 정권하에서 진행된 “교정의 경찰화”와 “교정의 군사화”의 배경에서 보안가 외성(加外性:redundacy)이 정밀하게 확대재생산되어 오다가 2009년 경찰국가시대에 와서 역사속에서 고이 잠들고 있는“해동청”을 갑자기 소환해 교화 상징으로 활물화 ((活物化)하고 빅브라더(big brother)로 절대권력화시킨 복식정책은 상징폭력이다. 잔 인성과 호전성과 제국주의적 권력성의 상징인“매”는 교화나 간호의 이념적 상징이 될 수 없다. 교정에서 보안은 중요하나 이는 수단이념이며 목적이념인 교화나 간호에 우 선할 수 없다는 점에 착안해 “매”가 부착된 제복교정간호사 복식의 문제점과 개선안을 제시했으며 이념적 복장으로서의 교정간호사복식의 중의적 의미도 언급하였다. 연구 방법은 복식(服飾)사회심리학 등의 학제적 관점이며 범위는 경찰국가시대에 나온 제복 간호사의 복식에 한정하였다. 다만 설문조사에 의한 과학화가 부족한 것이 본 논문의 한계이다.

This study aims to gain insight into society and culture in the 10th to 7th centuries B.C. by exploring the clothing in Assyria, which was the most powerful force in Mesopotamian civilization at the time. As a research method, literature and empirical studies were conducted in parallel, focusing on a total of 127 Assyrian artifacts held in domestic and foreign museums. The results of this study are as follows. The basic forms of Assyrian clothing are tunics and shawls. The tunics have short sleeves and are knee or ankle length with a special type of tassel decoration. They have a wide belt at the waist, and a decorative panel is attached vertically below with a strap. In addition to the basic clothing, there are loincloths and overskirts, with some having open right sides and fringe decorations to denote a higher status. The overskirt has a third or fourth-tier skirt structure with an open front and fringe decorations on the edges. Most military members, except for archers, wore knee-length tunics as uniforms. As for armor, they wore short-chest or knee-length coat-type lamella armor. Headwear mainly consisted of cylindrical hats and headband-type decorations. In the case of bracelets, mainly rosette-shaped decorations and simple ring-shaped bracelets with three or one turn were worn. For shoes, sandals were mainly worn, and soldiers mainly wore boots. As a result, each costume element is expressed in various ways depending on the wearer’s status, clearly showing Assyrian costume culture.

Geometric abstract art has been a persistent form since ancient times and is defined in modernity as a genre of abstract painting. According to previous studies, the geometric structure of traditional Korean costume possesses uniqueness based on Korean thought and philosophy. Therefore, the purpose of this study is to first derive the characteristics of Wilhelm Worringer’s theory, a theorist of geometric abstraction, and then compare the spiritual similarities between the traditional Korean costume and geometric abstract art, with the aim of examining the artistic competitiveness of Hanbok. Photographic materials from domestic and international museums, as well as books published by museums and government agencies, were analyzed. Further, the characteristics of Worringer's theory of the abstract impulse were derived. The results are as follows. First, the external factors are characterized by a single geometric shape on a flat surface with restrained spatial expression. The internal factors include anxiety, comfort from religion or ideology, and the need for a visual refuge for rest. Second, traditional Korean costume and geometric abstraction share common spiritual contexts of artistry, transcendence, and stability according to Worringer's theory. Third, the study of the spiritual similarities between the traditional Korean costume and geometric abstract art through Worringer’s theory reveals that the artistry of traditional Korean costume is expressed in universal forms, transcendence as intrinsic origins, and stability as a unique aesthetic consciousness. These findings provide a framework for reinterpreting the originality and universality of traditional Korean costume as Korean cultural content, infused with the characteristics of modern art.

This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people’s clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe’s shamanistic practices and lifestyle.

Comprehending the prevailing ideals of the body within a specific era requires grasping the intricate interplay between social phenomena and the evolution of clothing. Accordingly, this study investigates the distinctive facets of the perception of the Neo-Confucian body as reflected in men’s dress during the Joseon Dynasty. We examine a comprehensive body of scholarship, literature, and historical records concerning the body and dress. Additionally, we also employ a framework developed by M. Y. Kim, which categorizes the Neo-Confucian body in three ways: as the natural body, the cultural body, and the body as a fully-realized moral subject. Our findings unveil three crucial insights: firstly, guided by Neo-Confucian discourse positing appearance as a manifestation of innate energy (氣), men’s dress was deliberately designed to demarcate stylistic distinctions in women’s dress; secondly, the Chinese gwan (冠) was employed as a tool of self-cultivation (修身) to symbolize the legitimacy of Joseon’s Neo-Confucian governance; and thirdly, sim-ui (深衣), a philosophical emblem of Confucianism extensively represented across through an intensified exploration of historical sources, served as a means to consolidate the political standing of the Neo-Confucian faction. As a consequence of these factors, the attire of noble men conferred upon them both sexual and moral ascendancy as political entities; men’s dress became a visual manifestation of the legitimacy of their power, thus embodying Neo-Confucian ideals. This study carries significance by applying a discourse analysis approach to Korean dress research and elucidating the factors underlying the development of men’s dress during the Joseon Dynasty.

Modernism is an internationally accepted design style. In addition, traditional Korean costume is not the clothing of the past, but its form is also used in modern fashion. Therefore, the purpose of this study is to examine the social and cultural contents of the morphological structure of traditional Korean costume, in order to derive the design characteristics of modernism and examine the global applicability of traditional Korean costume structure. For this study, photographic materials from museums, schematic drawings of relics, and Hanbok production books published by government agencies were analyzed. Further, this study examined traditional Korean costume, especially the modernism characteristics derived from Paul Greenhalgh and previous studies. The results are as follows. First, The traditional Korean costume is a cut based on basic shapes, along with a silhouette appears according to the background of the times. Second, the characteristics of modernism can be divided into universality, functionality, and simplicity. Third, as a result of analyzing the form structure of traditional Korean costume based on the characteristics of modernism, universality is expressed as standardized form, functionality as practical aesthetics, and simplicity as sustainable diversity. Furthermore, Korean costume has a difference in that was greatly influenced by various Eastern ideas and aesthetics of the late Joseon Dynasty. These findings provide a perspective of modern reinterpretation of the uniqueness and universality of traditional Korean costume in line with globalization by utilizing the design characteristics of modernism, an international style.

본 논문은 백제 사비시대 부여와 익산의 왕실사찰인 정림사지, 제석사지, 그리고 미륵사 지에서 출토된 3점의 塑像에 대한 분석을 통해 6세기 후반~7세기 전반 백제 미술의 對中交 流 양상을 고찰했다. 구체적으로는 3인이 하나의 세트를 이루는 세속 인물상의 자세 및 의복, 그리고 두 보살상의 두발 표현 등을 중국 남북조시대 및 隋唐代 자료와 비교분석하였다. 3인상의 경우, 남북조의 출행도 및 예불도와 유사성이 지적된 바 있었다. 본 연구에서는 먼저, 기존 연구가 남북조시대 출행도에서 나타나는 지역적 차이를 간과했음에 주목했다. 3 인의 자세, 인물 구성, 侍者의 성별과 역할, 그리고 폐슬과 소매가 넓은 포복의 형태 등에서 나타나는 차이를 실마리로 백제 3인상이 북조가 아닌 남조 문화와 더욱 밀접하게 관련되어 있음을 확인했다. 무왕이 건립했다고 전하는 제석사지와 미륵사지에서 발견된 두 점의 보살상 頭部에는 連 弧形 髮際線이 출현한다. 연호형 발제선은 중국에서는 이미 4~5세기부터 출현했지만, 중국 전역으로 보급된 것은 대략 6세기 말부터이며, 그 연원은 장안양식과 관련이 있다. 연호형 발 제선은 삼국에서는 7세기에 비로소 등장하며, 이후 통일기 신라에서 유행한다. 그러므로 백제의 두 사찰 출토 소상에서 출현하는 연호형 발제선은 6세기 말부터 백제가 행한 적극적인 수 당 교류의 결과이자, 백제 미술에 미친 수당대 장안양식의 한 사례로서 주목할 만하다.

This study examines the social and artistic aspects of the Netherlands in the 16th century, focusing on the paintings of Pieter Bruegel the Elder (1525–1569), a representative Dutch painter at that time. Also analyzed were the types and characteristics of each item of the male populace’s and nobles’ costumes at that point in the Renaissance. The results are as follows: most of the populace’s chemises do not have frills on the neckline and sleeves; the doublet has a loose body and sleeves overall; and the sleeves and armholes are fixed with sewing rather than being detachable, making the epaulet invisible. The neckline of the doublet usually does not have a collar, but it sometimes has a hood. In the case of trousers, most males are shown wearing waist-high stockings, and a piece of cord is visible. It seems that the populace’s coats were mainly Spanish-style capes. The 16th-century Dutch populace’s costumes are imitative—reflecting a desire to emulate the codpieces and hairstyles of the aristocrats—while providing individuality through hats and belts. In terms of practicality, it appears that a knife and pouch were used in various living environments. This trend can be seen as a reflection of populace’s perception of the costume at the time.

The purpose of this study is to investigate historical and geographical environments in the development of the Naxi costumes of Chinese ethnic minorities and their characteristics—including religious cultures and totem worship—and to suggest the direction of fashion design toward the modernization of traditional costumes. The research methodology involved the collection of materials and investigatation into the history, culture, and characteristics of Naxi costumes; in particular, the “seven-star” sheepskin cape, one of the Naxi people’s important ethnic costumes as demonstrated by the women’s clothing that has been designed in reflection of this traditional costume. The results are as follows. First, Naxi costumes are found to have overall coherence and distinct locality when retained in the process of modernizing the traditional costume. The theme of this work is titled “By the Light of the Moon and the Stars,” which is expressed in contemporary fashion by the use of grey and dark red against a background of black, a color preferred by the Naxi people. Second, the Naxi people’s seven-star sheepskin cape is a symbol of women’s clothing with its characteristic patterns, shapes, and colors, and it is subject to creative modernization while retaining its unique ethnic characteristics. Third, the work expresses the contemporary stylishness of the costume while maintaining the customary decorative accessories from the Naxi people’s traditional culture.

This study is designed to compensate for the lack of children’s clothing relics from the early 18th century and to reproduce young upper-class girls’ costume as hanbok content. The shapes and materials of costumes are based on the record of Sukjongsilrok  in 1701 and the characteristics of adult ladie’s costume relics in this period, but reproduced as miniatures of these relics as like Joseon children’s clothing of another period. The reproduced costumes are formal wear for 3~4 year-old girls, consisting of yeoui [女衣], long unlined skirts, and lined skirts. Sizes were set at a height ratio of approximately 155:95. Yeoui is sam-hoejang-jeogori using pine pollencolored damask with a grape-squirrel pattern and a purple damask with flowertreasure pattern. The full length of yeoui is 24.5cm. It has a square-dangko outer collar with square inner collar. The long unlined skirt is a six-width overskirt that is 82cm long, made with lotus patterned sa. The lined skirt is a five-width skirt that is 61.3cm made with flower-treasure patterned red damask and ju. Several long pleats on both sides of these two skirts have been omitted. The result provides meaningful content for children’s clothing in the early 18th century and will be used as costume for an educational trial performance.

The purpose of this study is to identify trends in modern Korean clothing design through investigation and analysis of the types and respective characteristics of silhouettes, colors, materials, patterns, and decorations present. To this end, research methods such as literature research and content analysis through case study research were used. The results of the wedding magazine data analysis were largely classified by design element and based on such, the conclusions are as follows. First, in the analysis of silhouettes, the appearance rate of traditional items decreased over the selected period and that of modified items increased. Second, among the same colors, adjacent colors, proximity complementary colors, contrast, and other harmonies, adjacent color harmonies showed the highest rate of appearance. Third, the cases where the same materials were used for the top and bottom elements showed a similar appearance rate as those where different materials were used. It was also concluded that traditional materials are being replaced by modern materials. Fourth, regarding the arrangement of patterns, the appearance rate of the absence of patterns gradually increases. Fifth, there were more case of decorations than those of none. This study made it possible to grasp the changes in trends of modern Korean clothing from 2011 to 2020 and provide basic data for the development of the Korean clothing market industry. Keywords: modern

The purpose of this study is twofold: First, to develop new sustainable design methods (aligned with ethnic elements and traditional culture) combined with three-dimensional digital clothing technology throughout the design process, which can be presented as guideline materials for various fashion designs to be developed in contemporary sensibilities. Second, it is the intention to produce creative fashion designs by incorporating the characteristics and methods of Miao’s Huangping batik dyeing technique and to present various possibilities in the fashion design field. The overall design characteristics sought by Miao minority are in line with the complex terrain and the ecological and climatic conditions. Miaoist batik dyeing (registered as part of Chinese national intangible cultural heritage) features unique production methods and patterns. The study results are as follows. First, this attempt has enabled understanding of the national costume culture as Chinese Miao’s traditional cultural heritage to be promoted, while the direction of contemporary design development using traditional elements has been presented. Second, the study demonstrated new and innovative expressions and styles relying on three-dimensional digital contouring technology and identified the possibility of developing various designs. Third, it was confirmed that the dyed batik pattern design created by the three-dimensional digital contouring technology could be recombined or expanded as digital printing to express the traditional ethnic designs in a practical manner utilizing digital printing techniques based on traditional characteristics.

The morning ritual was a rite whereby a morning audience with the emperor was held for feudal lords sovereigns and subjects living in the precincts, monarchs or foreign envoys of the outskirts of the capital, and other ethnic group. Distinction between the main and subordinate rituals, changes in the ceremony according to the times, and the position or rank of those participating in the rite, were factors that directly affected the costumes worn for ritual. Accordingly, in this paper, the costumes worn by members of the Ming dynasty (emperor, prince imperial, prince) were examined in terms of the period and detailed ceremonies with a focus on the morning ritual and costume systems presented in the official historical records. Through this study, only Mian-fu (冕服) and Pi-bian-fu (皮弁服) were defined by the costume system ase costumes worn in the morning ritual. However, through comparative analysis with the morning ritual system, it was confirmed that Tongtian-guan-fu (通天 冠服), Yishan-guan-fu (翼善冠服), and Bianfu (便服: slightly casual wear) were also worn. It is worth noting that the color of Gunlong-pao (袞龍袍) was differentiated according to status; the Emperor wore yellow, the Prince Imperial and lower levels wore red, which was the traditional perception of academia. However, following confirmation of the custom costume for the morning ritual, it was confirmed that the color of this differentiation appeared during the 3rd year of Emperor Yongle of Ming (1305). Previously five traditional colors (blue, red, yellow, white, and black) were used for the season.

This study interprets Siberian shaman costumes from the perspective of Siberian shamanism’s spiritual culture by combining theoretical and empirical studies. According to the natural environment and language families, the Siberian people are classified into the Altai, Tungus, Ural, and Paleo-Siberian groups. Se Yin’s research classifies the spiritual culture of Siberian shamanism as cosmic, spiritual, and nature view. Eliade’s research has divided Siberian shaman costumes into form, headdress, and ornament. According to the present study, shaman costume form and decoration reflect the Siberian three-tiered cosmic view, such that the shaman’s head, body and feet correspond to the upperworld, middleworld and underworld. In addition, animism, totemism and ancestral worship appear in the shamanism’s spiritual view. For example, the costume’s form shows the totem of each tribe, while the costume accessories reflect animal worship, plant worship and ancestral worship. Finally, shamanism’s nature view mainly manifests through three processes: personification, deification, and ethics. As an intermediary between man and the spirits, shaman use their clothing to reproduce the image of half man and half spirit. The shaman’s costumes are deified and considered to have divine power. For example, the animals represented on the costume help the shaman travel through space. Generally, good animals help a shaman enter the upperworld, while animals that help a shaman enter the underworld are considered evil. Also, the number of hanging accessories represents the shaman’s ability.

This study attempts to analyze the social and cultural meanings of the ethnic groups to which different types of shamans belong in Siberia from the appearance characteristics in terms of clothing through Roland Barthes’s semiotic theory. The research method here is to analyze three types of shaman costume classified by Holmberg, which are bird-type, deer-type, and bear-type, through theoretical research and to investigate the analysis process of Roland Barthes’s semiotics theory. Roland Barthes’s approach to semiotics presents an analysis model that can explore the sociocultural meaning of the Siberian shaman costume. The research results are as follows. In the first type, to be closer to the god of the upperworld, shamans transform themselves into birds by decorating their costumes with the characteristic elements of birds such as feathers and wings. In the second type, the shamans’ costumes are made of deerskin, and the headdress is shown in the shape of antlers to make it easier to receive messages from the upperworld and run fast in the underworld. In the third type, the shaman’s costume is made of bearskin, the head is covered with bearskin, and the body is decorated with bear pendants. Through the power of the bear, the shaman is sent to the underworld to defeat evil gods and remove diseases. Shamans can show their particularity of being a demigod and non-binary gender through clothing. They use this to reflect their authority as a medium of communication between man and god.

A lot of work has been done on the topic of Korean traditional costume. In spite of the amount of the work, however, not much work has appeared that summarizes the overall research trend in such a way that we gain insights into the future direction of the Korean traditional costume field. This study aims to work out an analysis of the research trend that may shed light on the current status of the field and also on the things that have to be done to further develop the Korean costume design field. The analysis reported in this work is based on the articles that appeared in two journals: Journal of the Korean Society of Costume published by the Korean Society of Costume (2,661 articles from the year 1977 to 2019) and Journal of Korean Traditional Costume published by the Society of Korean Traditional Costume (762 articles from the year 1998 to 2019). The result of the analysis shows that only a very small amount of work is devoted to actual designing of Korean traditional costume, and this has to change to globalize Korean traditional fashion and draw worldwide attention to it. So more work is needed particularly on actual designing of Korean traditional costume. This does not mean that we simply have to maintain tradition and replicate the original designs, but we have to endeavor to work out novel designs by, for instance, creative destruction and restructuring, maintaining the essence of the tradition of Korean costume.

This study aims to develop fashion designs that combine atlas fabric with the characteristics of Uygur costume to modernize the costume of the Xinjiang Uygur. Research contents and methods are as follows. First, based on previous studies, research analysis was conducted on the cultural background, clothing characteristics, and material of Uygur clothing. Second, based on such research contents, designs combining the characteristics of Uygur costume and atlas fabric were presented. Third, to analyze the utilization of atlas fabric and examine fabric characteristics, material was gathered from collections on domestic and foreign web sites. Through field explorations of local museums in the Xinjiang area, minority group culture was observed in more detail. Based on collection of traditional clothing and analysis of its characteristics, fashion designs that apply contemporary trends were developed. General silhouettes without any restrictions to the waist and decorations made using embroidery were often used. Atlas silk, developed in China using Ikat weaving methods, is an important traditional clothing fabric of the minority group Xinjiang. Based on such data collection analysis, the produced works highlighted traditional ethnic characteristics by extracting classical patterns of atlas fabric, modifying or partially expanding them, combining them with hand knitting, and adding contemporary sensations, thus providing confirmations of the possibility of popularizing classic patterns in more practical manners.

This study analyzed the expression of hanbok in online fashion styling games, and examined the main themes of and user reactions to hanbok fashion styling games through semantic network analysis and sentiment analysis. KrKwic, Textom, and NodeXL were used for data collection and analysis. The findings of the study are as follows: First, depending on the designer’s expressive method, hanbok fashion styling games provide typical traditional hanbok, modern hanbok, and dress-like fusion hanbok, demonstrating contents with various themes for different sexes, classes, and situations. Second, as a result of analyzing the themes of hanbok-related styling game contents, it turned out that the main themes are tradition, color, historical drama, fusion hanbok, holiday, and love. Most of them produce modernized hanbok that reflect the situation and utility rather than strictly traditional ones. Third, as a result of analyzing user reviews of hanbok styling game contents, positive factors mostly turned out to be the satisfaction of the hanbok contents, with the users also showing positive intent to wear hanbok. Through this, it was found out that hanboks portrayed in game contents could potentially cause the user’s positive intent to wear hanbok. Negative factors turned out to be the discordance between the intrinsic image of hanbok and the game character’s image.

티베트 고원에서 살고 있는 티베트인 또는 장족은 오랜 역사와 자연환경에 순응한 자신만의 독특한 생활양식을 가지고 있어 독자적인 의복문화 형태를 지닌다. 복식 중에 색채, 문양, 도안의 사용에서 종교적인 의미를 나타낼 뿐 아니라, 복식을 통해 자신의 생활의 희망과 자연을 존중한 마음을 강하게 표현하고 있다. 티베트 민족 복식의 색채 상징성에 관한 고찰을 통하여 티베트족 문화의 특수성을 이해하고자 장족 복식에 사용된 색채를 분석하고 그들만의 색채의 의미를 고찰하였다. 장족의 색채인식, 상징성을 색의 사용 예시와 출현빈도를 중심으로 살펴보았다. 연구방법으로는 복식사진의 색채 수집 및 분석을 실시하였는데 I.R.I HUE-TONE 시스템에서 매칭 색상과 색조를 찾는 방식이었다. 장족 복식도서의 칼라사진과 청해 장족문화박물관의 장족 복식을 직접 촬영한 사진, 인터넷 박물관의 복식사진 등 총 96장의 사진이었다. 결과는 첫째, 세상을 구성한다고 생각하는 가장 주요한 요소를 5가지 색 장오색에 연결하여 각 색마다 자연적 의미를 부여하는데, 빨간색은 불, 파란색은 하늘, 흰색은 구름과 흰 눈, 초록색은 초원, 노란색은 대지를 각기 상징한다. 둘째, 홍과 녹, 흑과 백, 홍과 남, 황과 자색 등 강렬한 색채조화를 이루도록 대담한 색채를 사용하고 있는 것이 특징이다. 셋째, 티베트인들의 특유한 심미관을 표현하는데 색의 일반적인 감성을 대부분 따르지만 그들만의 감성이 들어있는 색상이 존재하였다.

As the excavated costumes from the unknown tomb of the Joseon Dynasty were unearthed, estimating the age of the costumes became very important. This research investigat and estimates the age of the excavated costumes from Couple`s Tomb for Lee General in Seosan, Chung-nam. By inspecting and analyzing the costumes, the features can be compared with other similar costumes that have been excavated from other tombs. The result of this study is as follows: First, the period with dopo, cheolrik, jungchimak, and baji for females among the relics of General Lee can be estimated. For dopo, there are morphometric features such as the shape of moo; for cheolrik, there is a ratio of top and bottom; for jungchimak, there is a ratio of width of arm and skit and a ratio of side tim, total length, etc. By comparing relics of same period, it can be estimated to be from the late 16 century around the Japanese invasion of Korea to the early 17 century. Second, the period with jangui and jeogori among the relics of Couple's Tomb for General Lee can be estimated. By comparing jangui with the arm and width of sleeves, and by comparing jeogori and the shape of the collar, arm, length, etc., with other relics identical to the period, it can be estimated to be from the late 16 century around the Japanese invasion of Korea, which is a similar date to the one with the husband to the early 17 century.