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.

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.

글로벌 게임시장의 성장에 따라 국내 게임이용자도 손쉽게 다양한 국가에서 접할 수 있게 되 었다. 그리고 이러한 글로벌 경쟁 속에서 현실의 다양한 문화 창의적으로 반영한 게임이 점증 하고 있다. 대표적인 것이 중국의 호요버스가 개발한 해제 월드 형<원심>으로, 해당 콘텐츠는 캐릭터와 공간디자인에 다양한 국가의 문 것이 특징이다. 이때 의상디자인은 캐릭터의 성격과 매력을 효과적으로 이국적인 특색을 드러내는 기호라는 점에서 특히 중요하다. 이에 이 글은 먼저 캐릭터 의상과 의상 기호에 관한 검토하고, <원심>의 문화 활용 전략을 간단히 살펴보았 다. 이후 퍼스의 기호학을 활용해 중국의 문화적 특색을 반<원신> 캐릭터 ‘운근’을 분석하였다. 분석 결과, <원신>의 캐릭터 디자인전략은 중국의 풍부한 문화적 문맥을 중심 코드를 적극적으 로 빌리는 한편, 캐릭터 성을 부각하는 방향으로 의상 구성요소를 변형 시 나타났다. 이후 분 석 결과를 바탕으로 차후 연구를 위한 발전 방향을 제시하였다..

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.

The purpose of this study is to examine the relationships between citations and the research trends of The Research Journal of the Costume Culture (RJCC) using bibliometric and network analyses. The results are as follows. First, the RJCC has been cited by a greater number of journals and high-reputation journals today. The RJCC has been mentioned in global academic journals in various fields, and it has been noted the most in environmental science. Second, because of examining the articles published in the RJCC over the past three years (2019–2021), it was found that the number of topics was evenly distributed in various subfields of the clothing and textiles sector. The RJCC principally deals with traditional clothing, ethics and sustainability, and technology, which means that the RJCC reflects the past, present, and future. As a result of conducting a cluster analysis using the Wakita-Tsurumi algorithm, the subjects of ethical fashion and sustainability were derived from the subdivisions of the RJCC. This suggests that the RJCC is a journal specialized in ethical fashion and sustainability sectors such as environmental, animal, and labor ethics. This study outlined the current status and future direction of academic journals in the field of clothing through an analysis of the RJCC’s influence change and the relationship between citations. In addition, it is academically significant because it identifies research trends and knowledge-structure changes in the apparel science field by identifying changes in research keywords and significant research topics by sector.

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 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.

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.

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.

The purpose of this study is to collect and analyze costumes presented in international dance sports competitions, and summarize the features of Latin American dance costumes’ design. As for research methods, standards of Latin American dance costume design were analyzed via a literature review on dance sports. The scope of the study extended for six years from 2010 to 2015 to include the, top three UK Latin American dance competitions. The results are as follows. First, the silhouette analysis determined that the X silhouette to the lead with, −145 costumes (78%), followed by the H silhouette at 25 (13%), and other at 16 (9%). Amongst those there were 174 one-piece dresses (94%). Furthermore, the analysis on colors of Latin American dance sports costumes revealed that, amongst the 186 costumes, 115 were without color (62%), Bl(black) is the most frequent with 37%, then Wh(white) with 21% and Gr(gray) with 4%. Costumes with colors, based on the six basic colors in the Munsell color system, are comprised most often of red with 12%, the followed by Y(yellow) at 10%, B(blue) at 8%, YR(yellow-red) at 4%, P(purple) at 2%, and G(green) at 2%. Thirdly, the cloth materials of Latin American dance costumes are recognized through image inspection. Among visually recognizable materials, beading materials are the most common with 104 costumes (60%). Shiny materials like mesh, chiffon, organza, lace and burn-out are in 36 costumes in total (19%). Other cloth materials included Luster materials and; non-sheen materials, which were in 46 costumes (25%).

The paper provides a context to the reasons why there may be benefits in revitalising the original method of teaching costume construction for performance, reporting on reflections from personal experience and a relevant literature review to support the concept. It outlines the research to date and the following research stages.

This study analyzes the characteristics of clothes worn by the Zhuang in order to produce new fashion designs, and to propose diverse new directions in fashion design. Research was conducted using a bibliographic survey on the cultural background, characteristics, and relevant techniques of the Zhuang costume and that of minority races in China. This study deploys four styles of design for women’s wear. With the inspiration of the traditional Zhuang costume, black and blue were the colors mainly used for the Zhuang people and the material was mostly denim. Denim blends in well for the contemporary facilitation of the Zhuang costume, which is known for knitting technique, fur and hemp fabric as patchwork, and embroidery works. It is appropriate to express the joyful and happy mind of Zhuang people with extraordinary colors, exaggerated silhouettes, and various decorations. Images of nature, such as the sun, mountains, rivers, water, fish etc., expressed the nature worship of the Zhuang in contemporary design, representing the simple life and peaceful mind. This research develops a new fashion design and displays the possibility for diverse design development through new insight in contemporary fashion design.

This study focused on the movement adaptability of 19th century classical opera stage costumes. Researchers focused on a basic 19th century women’s jacket. The study analyzed movement adaptability using ROM (range-of-motion) tests of the upper limb flexion and abduction postures. It developed two research garments to mimic basic 19th century style jackets with or without gussets at the axilla. The ROM experiment identified the gusset size as 11cm in length. Experimental postures included upper limb flexion and abduction. The study measured subjective comfort at 8 postures. These postures included the flexion and abduction of the arms and torso. Subjects also evaluated the subjective comfort of the rotation posture of the torso. Researchers evaluated the similarities between research garments’ silhouettes and the 19th century women’s jacket. The study used a 3D virtual fitting system to evaluate fit, and specialists further analyzed fit with photographs and 3D virtual graphics. The results are as follows. The silhouettes of both research garments were similar to the silhouettes of the 19th century western women’s jacket. The jacket with axilla gusset had a better fit than the basic style jacket. The basic style jacket without the axilla gusset showed limited movement adaptability at the shoulder joint and it caused discomfort at the axilla and elbow. The 3D virtual fit test was not a suitable method for analyzing silhouette similarity.

This paper examines the transition of the Hungarian men’s costume. Transition of the Hungarian men’s costume can be divided into pre-eighteenth century, eighteenth century, and since the nineteenth century. Hungarian costume was derived from the Magyar who settled in Hungary in the ninth century. Hungry had begun to accept Western culture in the tenth century, so when the prototype of Hungarian costume was completed, it consisted of Dolman, Mente, pants, and boots combining traditional Magyar style with Western European style. In particular, Dolman shows the uniqueness of the Hungarian men’s costume; it has a high, stand-up collar in the back center, closes on the left, has a right front plate with a diagonal cut at the waist, and a wide front closure. In the eighteenth century, Hungarian men’s costumes played an important role in displaying national pride while living under the oppression of the Habsburg Empire. In particular, Dolman was worn as a uniform at the battle of independence (1703~1710). This dress of male courtiers became the distinctive style of the eighteenth century and then became the basic style of men’s costumes. Since the nineteenth century, Hungarian men’s costumes have acted as an means to promote the national consciousness of Hungary through the Citizen Revolution (1848), the War of Independence (1849), and the formation of the Dual Empire (1867). Looking at evolution of the Hungarian men’s dress style, it reveals that resistance and struggles against other nations, a history of aggression, and living under oppressed are factors that impact on important clothing transitions.

This study surveys basic costumes and games from the 11 Genre paintings by Junkeun Kim in the book “Korean Games (Stewart Culin 1858-1929)”. The characters in the painting are 3 adult males, 19 boys, and 8 girls. The characters of the general dress-costumes, games and the culture of life from the late 19thCentury in genre painting of Junkeun Kimare are as follow. It is classified as a children’s game and combined game, children’s game classified one more as a boy’s game and the girl’s game from life culture. It also classified the body type and the multi complex type by game character. The boy’s games are kite-flying, spinning tops, playing shuttlecock with the feet, blind man’s bluff, yut (“Four-Stick Game”). Girl’s games are seesaw with board, blind man’s bluff, and marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one’s body type were seesaw with board, tightrope walking and the multi complex type were yut (“Four-Stick Game”), kite-flying. The study results on the costumes of 19 boys, 8 girls, and 3adultsin genre paintings are as follow. Boy’s hair was knotted on the back of the head by ‘Dang-ki’ (Korean traditional hair ribbon) with the middle part in his hair which was colored red and bright brown. A ‘Go-kal’ (peaked hat), ‘Cho-lip’ (straw hat), towel hood, ‘Pung-cha’ and ‘I-um’ for winter on their heads. They wore a ‘Po’ (Korean traditional coat) which was ‘So-chang-i’, ‘Do-ru-ma-gi’ and ‘Jun-bok’ (Korean traditional vest). They were green, yellow green, violet, pink. The boys wore ‘Jeogori’(Korean traditional jacket) which were blue, red, violet, green and pink which reached down to the hip line. The variety of colors was more colorful than men’s. The ‘Jeogori’ had mostly ‘Dunggun-kit’ (a round head collar) or ‘Dangko-kit’ (a round head with nose collar), ‘Kal-kit’ (knife shaped collar) with white ‘Dong-jung’ and fit around the neck and ‘Go-rum’ was short and narrow. ‘Baji’ (slacks) were white with a colorful sash (green, blue and red) knotted at the waist, worn ‘Hang-jun’ (shank band). They wore white ‘Beoseon’ (Korean traditional socks) with Jipsin (straw shoes), ‘Mi-to-ri’, black or red, brown ‘Hea’ (leather shoes) and ‘Sulmal’ (sleigh shoes).They wore a green, indigo and red collar ‘To-si’(Korean traditional wristlets) for winter and attached a ‘Yum-lang’ (a Korean traditional pocket bag). The common man wore ‘Jeogori’ (Korean traditional jacket) which were green and white with a white lining that reached down to the hip line with white ‘Baji’ (slacks). The shape and method of wearing modern man’s Hanbok (a Korean traditional costume) remained unchanged. But it istied by another color sash for padding Jeogori in winter games. They wore white ‘Baji’ (slacks) with a colorful sash (red and white) knotted at the waist and wore a ‘Hang-jun’ (shank band).Park C.S. et al. (2009) found the same result in that the basic color was white with various intermediate colors. They wore padded Jeogori and Bajiin the winter while wearing, single a layer ‘Po’ inthe summer. They wore their hair in a topknot (sangtu) with a green color towel surrounding the forehead with ‘Bungezi’ and ‘Got’ on their head in a topknot. They wore ‘So-chang-i’, but they often did not wear ‘Po’ and put on ‘Jipsin’ (Korean traditional straw shoes) or ‘Sulmal’ (sleigh shoes). The girl’s hair was knotted to the back of the head or with partedbraidedhairso that there was a pigtail over each ear tied with a ‘Dang-ki’ (a Korean traditional hair ribbon) with a middle part in the hair. ‘Jeogoei’ was short and fitted with the narrow sleeve of a short and narrow ‘Go-rum’. It has ‘Dunggun-kit’ (a round head collar) or Dangko-kit (a round head with nose collar) with a white ‘Dong-jung’ and fit around the neck.They wore indigo, green, red ‘Jeogori’ matching the color of the ‘Kit’ (collar), ‘Go-rum’ (ribbon), ‘Kut-dong’ called ‘Ban-hoijang-jeogori’ and with a indigo/red, green/red, and red/indigocolor combination.They wore ‘Chi-ma’ (a Korean traditional skirt) colored red, green, and pink that contrasted with the ‘Jeogori’. The right side of ‘Chi-ma’ was covered to the left side and knotted by a waist band stringin the front of the chest and tucked up skirt. The width of ‘Chi-ma’ was adequate. The white inner slacks came from under the skirt. They put on ‘Jipsin’, brown ‘Hea’ (leather shoes). Through genre painting in the 19thcentury, we know a boy’s ‘Jeogori’ and ‘Ba-ji’ were similar to a modern man’s and boy’s ‘Hanbok’ with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl’s ‘Jeogori’ and ‘Chi-ma’ changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist’s genre painting which was ordered by a foreigner and the late of 19thcentury’s children’s costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the ‘Hanbok’ and establish a costume of life.