Szilágyi András (szerk.): Ars Decorativa 15. (Budapest, 1995)

NAGY Ildikó: Hagyományos koreai ruhadísz a Hopp Ferenc Kelet-Ázsiai Művészeti Múzeum koreai gyűjteményében

ILDIKÓ NAGY TASSELED ORNAMENTS FOR TRADITIONAL KOREAN WEAR IN THE KOREAN COLLECTION OF THE FERENC HOPP MUSEUM OF EASTERN ASIATIC ARTS The traditional Korean national costume, the hanbok has for centuries differed from that of the neighbouring nations although its antecedent may have been attire similar to the kaftan costume of the northern nomadic tribes, with wore items of Chinese-style wear also being used. Headdress and footwear, as well as the complementary accessories that constituted essential part of each costume differed too, in line with social conventions. The history of Korean costume can be traced back to the 4th-5th centuries A. D. through the genre paintings in the tombs of the Koguryo period (37 B. C.-668 A. D.), which offer much information on the history of dress, besides references to culture. From the wall paintings in the Tomb of the Dancers at Kungnaesong (Muyong chong) and in the burial vaults of Anak Tomb No. 3 we can from a picture concerning the dress customs of persons of different social standing.

1 The final forms of Korean wear evolved during the Choson Dynasty (1392-1910), when the entire thinking of Koreans, their culture, arts, and even the natural sciences were regulated by the ethical standards of Confucianism, determining the life and values of society and of families. These ethical formulae influenced the culture of dressing and the items accompanying the different garments. When a costume was made, the birth, rank, sex, age and family status of the wearer had to be taken into consideration. Someone of lower birth could not put on the clothes and black hat of the nobleman. The contrasts between the dull white everyday wear of the common people and the richly coloured costumes of the coud were conspicious. The colour and material of attire worn or different occasions were also regulated. Let UÍ quote two examples here: the traditional wedding costume was made from highly colourec materials, while the attire worn for mourning dress was tailored from unbleached linen. The basic characteristic of Korean costume is that it consists of two parts - without respec to the sex or social origin of the wearer. The up per part of the garment for women is the bolero style jacket with long wide sleeves (chogori fastened with ribbons tied on one side. A lonj pleated skirt (chima) was worn with it. In it form this two-part costume has scarcely chan ged over the centuries - only the proportions o the jacket changed to some degree. When ope ned wide, the bolero-style jacket with its charac teristic sleeves resembles the wings of a bird and with the long skirt, produces a light and air silhouette during movement.

2 The practice of fastening the traditional wo men's (and men's) jacket, the chogori, can b traced back to the Koguryo period. At that tim the jacket-tie was worn not at chest height hi at the waist, and it was tied on the wearer's lef This practice of fastening the jacket change from the Koryo (918-1392) to the Choso (1392-1910) periods and the two long ties gi thering the jacket up were now tied at che; level on the wearer's right with the one-sid ribbon-tie, which also served as decoration ( the clothing. It was mainly the better-off women who woi a cape-like garment without sleeves (chango