Hanbok: Difference between revisions

Traditional Korean dress
Traditional Korean dress
Korean name
Hangul	한복
Hanja	韓服
Revised Romanization
Transcriptions
Revised Romanization	Hanbok
McCune–Reischauer	Hanbok
Alternative Korean name
Hangul	조선옷
Hanja	朝鮮옷
Revised Romanization
Transcriptions
Revised Romanization	Joseon-ot
McCune–Reischauer	Chosŏn-ot

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The hanbok (in South Korea) or Chosŏn-ot (in North Korea) is the traditional Korean clothes. The term "Hanbok" literally means "Korean clothing". It was established as a part of the unique living culture of Korea, influenced by the geographical and climatic nature of the Korea, and handed down throughout the years to present times.^[1]

Hanbok is characterized by its wrapped front top, long, high waisted skirt and its typically vibrant colours. Two piece clothing style of Hanbok is closer to the style of the nomadic tribes.^[2]

Hanbok can be traced back to the Three Kingdoms of Korea period (1st century BC ~ 7th century AD), with roots in the peoples of what is now northern Korea and Manchuria. Early forms of Hanbok can be seen in the art of Goguryeo tomb murals in the same period. The earliest ones can be found in mural paintings dating from the 5th century.^[3] From this time, the basic structure of hanbok, namely the jeogori jacket, baji pants, and the chima skirt, were already established. Short, tight trousers and tight, waist-length jackets were worn by both men and women during the early years of the Three Kingdoms of Korea period. The basic structure and these basic design features of hanbok remain relatively unchanged to this day.

In the modern day, "hanbok" usually refers specifically to the clothing worn and developed during the Joseon dynasty period by the upper classes. In general, the clothing of Korea's rulers and aristocrats was influenced by both foreign and indigenous styles, resulting in some styles of clothing, such as the simui from China's Song Dynasty, gwanbok worn by male officials and Court clothing of women in the court and women of royalty were adapted from the clothing style of China's Ming dynasties.^[4]^[5] The cultural exchange was also bilateral and Goryeo hanbok had cultural influence on the Yuan dynasty.^[6] The commoners were less influenced by those foreign fashion trend, and they mainly wore a style of indigenous clothing distinct from that of the upper classes.^[7]

Koreans wear Hanbok for formal or semi-formal occasions and events such as festivals, celebrations, and ceremonies. In 1996, the South Korean Ministry of Culture, Sports and Tourism established "Hanbok Day" to encourage South Korean citizens to wear the hanbok.^[8]

Construction and design

Traditionally, women's hanbok consist of the jeogori (a blouse shirt or a jacket) and the chima (a full, wrap around skirt). The ensemble is often known as chima jeogori. Men's hanbok consist of jeogori and loose fitting baji (trousers).^[9]

Jeogori

Jeogori is the basic upper garment of the hanbok, worn by both men and women. It covers the arms and upper part of the wearer's body.^[10]^[11] The basic form of a jeogori consists of gil, git, dongjeong, goreum and sleeves. Gil (Hangul: 길) is the large section of the garment on both front and back sides, and git (Hangul: 깃) is a band of fabric that trims the collar. Dongjeong (Hangul: 동정) is a removable white collar placed over the end of the git and is generally squared off. The goreum (Hangul: 고름) are coat-strings that tie the jeogori.^[9] Women's jeogori may have kkeutdong (Hangul: 끝동), a different colored cuff placed at the end of the sleeves. Two jeogori may be the earliest surviving archaeological finds of their kind. One from a Yangcheon Heo clan tomb is dated 1400–1450,^[12] while the other was discovered inside a statue of the Buddha at Sangwonsa Temple (presumably left as an offering) that has been dated to the 1460s.^[13]

The form of Jeogori has changed over time.^[14] While men's jeogori remained relatively unchanged, women's jeogori dramatically shortened during the Joseon dynasty, reaching its shortest length at the late 19th century. However, due to reformation efforts and practical reasons, modern jeogori for women is longer than its earlier counterpart. Nonetheless the length is still above the waistline. Traditionally, goreum were short and narrow, however modern goreum are rather long and wide. There are several types of jeogori varying in fabric, sewing technique, and shape.^[14]^[12]

Chima

Chima refers to "skirt," which is also called sang (裳) or gun (裙) in hanja.^[15]^[10]^[14] The underskirt, or petticoat layer, is called sokchima. According to ancient murals of Goguryeo and an earthen toy excavated from the neighborhood of Hwangnam-dong, Gyeongju, Goguryeo women wore a chima with jeogori over it, covering the belt.^[16]^[17]

Although striped, patchwork, and gored skirts are known from the Goguryeo^[10] and Joseon periods, chima were typically made from rectangular cloth that was pleated or gathered into a skirt band.^[18] This waistband extended past the skirt fabric itself and formed ties for fastening the skirt around the body.^[19]

Sokchima was largely made in a similar way to the overskirts until the early 20th century when straps were added,^[20] later developing into a sleeveless bodice or 'reformed' petticoat.^[21] By the mid-20th century, some outer chima had also gained a sleeveless bodice, which was then covered by the jeogori.^[22]^[23]

Baji

Baji refers to the bottom part of the men's hanbok. It is the formal term for 'trousers' in Korean. Compared to western style pants, it does not fit tightly. The roomy design is aimed at making the clothing ideal for sitting on the floor.^[24] It functions as modern trousers do, but nowadays the term baji is commonly used in Korea for any kinds of pants. There is a band around the waistline of a baji for tying in order to fasten.

Baji can be unlined trousers, leather trousers, silk pants, or cotton pants, depending on style of dress, sewing method, embroidery and so on.

Po

Po or Pho is a generic term referring to an outer robe or overcoat, which was a common style from the Three Kingdoms of Korea period until the late Joseon period.^[10]^[25] A belt was used until it was replaced by a ribbon during late Joseon dynasty. Durumagi is a variety of po that was worn as protection against cold. It had been widely worn as an outer robe over jeogori and baji. It is also called jumagui, juchaui, or juui.^[15]^[10]^[26]

A different overcoat derived from Tang dynasty styles was adopted among the elites of Unified Silla and eventually evolved into Gwanbok.^[25]^{[need quotation to verify]}

Jokki and magoja

Jokki (Korean: 조끼) is a type of vest, while magoja is an outer jacket. Although jokki and magoja were created at the end of the Joseon dynasty (1392–1897), directly after which Western culture began to affect Korea, the garments are considered traditional clothing. Each is additionally worn over jeogori for warmth and style. Magoja clothing was originally styled after the clothing of Manchu people, and was introduced to Korea after Heungseon Daewongun, the father of King Gojong, returned from his political exile in Tianjin in 1887.^[26]^[27] Magoja were derived from the magwae he wore in exile because of the cold climate there. Due to its warmth and ease of wear, magoja became popular in Korea. It is also called "deot jeogori" (literally "an outer jeogori") or magwae.^[26]

Magoja does not have git, the band of fabric trimming the collar,^[9] nor goreum (tying strings), unlike jeogori and durumagi (an overcoat). Magoja was originally a male garment but later became unisex. The magoja for men has seop (Korean: 섶, overlapped column on the front) and is longer than women's magoja, so that both sides are open at the bottom. A magoja is made of silk and is adorned with one or two buttons which are usually made from amber. In men's magoja, buttons are attached to the right side, as opposed to the left as in women's magoja.^[26]

At first,^[when?] women wore the magoja for style rather than as a daily outfit, and especially kisaeng wore it often. It is made of silk, and the color for women tends to be a neutral color to harmonize with other garments such as jeogori and chima, which are worn together. In spring and autumn, pastels used in women's magoja are matched with jeogori by color. Men's magoja during spring and summer are jade, green, gray, dark grey.^[26]

Children's hanbok

Traditionally, Kkachi durumagi (literally "a magpie's overcoat") were worn as seolbim (Hangul: 설빔), new clothing and shoes worn on Korean New Year, while at present, it is worn as a ceremonial garment for dol, the celebration for a baby's first birthday.^[28]^[29] It is a children's colorful overcoat.^[30] It was worn mostly by young boys.^[31] The clothes is also called obangjang durumagi which means "an overcoat of five directions".^[28] It was worn over jeogori (a jacket) and jokki (a vest), while the wearer could put jeonbok (a long vest) over it. Kkachi durumagi was also worn along with headgear such as bokgeon (a peaked cloth hat),^[32]^[33] hogeon (peaked cloth hat with a tiger pattern) for young boys or gulle (decorative headgear) for young girls.^[10]^{[need quotation to verify]}^[34]

Occasions

Hanbok is classified according to its purposes: everyday dress, ceremonial dress, and special dress. Ceremonial dresses are worn on formal occasions, including a child's first birthday, a wedding, or a funeral. Special dresses are made for shamans and officials.^[24]

Hanbok was worn daily up until just 100 years ago, it was originally designed to facilitate ease of movement. But now, it is only worn on festive occasions or special anniversaries.^[35] It is a formal dress and most Koreans keep a hanbok for special times in their life such as wedding, Chuseok (Korean Thanksgiving), and Seollnal (Korean New Year's), Children wear hanbok to celebrate their first birthday (Hangul: 돌잔치) etc. While the traditional hanbok was beautiful in its own right, the design has changed slowly over the generations. The core of hanbok is its graceful shape and vibrant colors, it is hard to think of hanbok as everyday wear but it is slowly being revolutionized through the changing of fabrics, colors and features, reflecting the desire of people.

Women's Traditional Hanbok consist of jeogori, which is a shirt or a jacket, and chima dress, which is a wrap around skirt that is usually worn full. A man's hanbok consists of jeorgori (jacket) and baggy pants that are called baji. Also there are additional clothing Po which is the outer coat, or robe, jokki which is a type of vest and magoja which is an outer jacket worn over jeogori for warmth and style.^[36]

The color of hanbok symbolized social position and marital status. Bright colors, for example, were generally worn by children and girls, and muted hues by middle aged men and women. Unmarried women often wore yellow jeogori and red chima while matrons wore green and red, and women with sons donned navy. The upper classes wore a variety of colors. Contrastingly, commoners were required to wear white, but dressed in shades of pale pink, light green, gray and charcoal on special occasions.

Also, the status and position can be identified by the material of the hanbok. The upper classes dressed in hanbok of closely woven ramie cloth or other high grade lightweight materials in warmer months and of plain and patterned silks throughout the remainder of the year. Commoners, in contrast, were restricted to cotton. Patterns were embroidered on hanbok to represent the wishes of the wearer. Peonies on a wedding dress, represented a wish for honor and wealth. Lotus flowers symbolized a hope for nobility, and bats and pomegranates showed the desire for children. Dragons, phoenixes, cranes and tigers were only for royalty and high-ranking officials.^[37]

History

Antiquity

The hanbok can be traced back to the Three Kingdoms of Korea period (57 BC to 668 AD).^[38]^[39]^[40]^[41] The origin of ancient hanbok can be found in the ancient clothing of what is now today's Northern Korea and Manchuria;^[42] the ancient hanbok shared similarities with the clothing of the nomadic culture, hobok, through the ancient Korean's cultural exchange with the northern nomads of Scythai.^[43] Despite Scythai's influence, the ancient hanbok of ancient Korea which consists of today's Manchuria and Northern Korea was distinct from Scythai's clothing.^[43] Early forms of Hanbok can be seen in the art of Goguryeo tomb murals in the same period from the 6th century AD.^[41]^[42]^[43]^[44]

From this time, the basic structure of hanbok, namely the jeogori jacket, baji pants, and the long, chima skirt, were already established. Short, tight trousers and tight, waist-length jackets, twii (a sash-like belt) were worn by both men and women during the early years of the Three Kingdoms of Korea period.^[40]^[45] Women also wore baji under their chima^[40]^[45] The basic structure and these basic design features of hanbok remain relatively unchanged to this day,^[46] except for the length and the ways the jeogori opening was folded as over the years, there were changes.^[40] Originally the jeogori opening was closed at the central front of the clothing, similar to a kaftan; the fold opening later changed to the left before eventually closing to the right side.^[40] Since the sixth century AD, the closing of the jeogori at the right became a standard practice.^[40] The length of the female jeogori also varied throughout time.^[40] For example, women's jeogori which are seen in Goguryeo paintings which date to the late fifth century AD are depicted shorter in length than the man's jeogori.^[40]

A Goguryeo man in a hunting attire from Capital Cities and Tombs of the Ancient Koguryo Kingdom, 5th century A.D., Jilin province, China.
Goguryeo servants wearing a Chima (skirt) and a long jeogori jacket, Goguryeo mural paintings in Jilin province, China, 5th-century AD.
7th-century Chinese Tang dynasty painting of envoys from the Three Kingdoms of Korea: Baekje, Goguryeo, and Silla.

The Goguryeo period royal attire was known as ochaebok.^[40] The durumagi (a long, outjacket worn over the jeogori) was introduced in the Goguryeo period from a long coat worn by Northern Chinese.^[40] Originally the durumagi was worn by the upper class of Goguryeo for various ceremonies and rituals; the form was later modified and it is its modified form which was later worn by the general population.^[40]

Reconstruction of Goguryeo king's and queen's attire. The royal attire were known as ochaebok.

North-South States period and Goryeo dynasty

United Silla

The Silla Kingdom unified the Three Kingdoms in 668 AD. The Unified Silla (668-935 AD) was the golden age of Korea. In Unified Silla, various silks, linens, and fashions were imported from Tang China and Persia.^[40] In the process, the latest fashions trend of Luoyang which included Chinese dress styles, the second capital of Tang, were also introduced to Korea, where the Korean silhouette became similar to the Western Empire silhouette. Under the influence of China's Tang dynasty, aristocratic women in United Silla started to wear their skirts over their jackets, which is a distinctive dress style worn by the women of the Tang dynasty.^[40] King Muyeol of Silla personally travelled to the Tang dynasty to voluntarily request for clothes and belts; it is however difficult to determine which specific form and type of clothing was bestowed although Silla requested the bokdu (幞頭; a form of hempen hood during this period), danryunpo (團領袍; round collar gown), banbi, baedang (䘯襠), and pyo (褾).^[47] Based on archeological findings, it is assumed that the clothing which was brought back during Queen Jindeok rule are danryunpo and bokdu.^[47] The bokdu also become part of the official dress code of royal aristocrats, court musicians, servants, and slaves during the reign of Queen Jindeok; it continued to be used throughout the Goryeo dynasty.^[48] In 664 AD, Munmu of Silla decreed that the costume of the queen should resemble the costume of the Tang dynasty; and thus, women's costume also accepted the costume culture of the Tang dynasty.^[47] Women also sought to imitate the clothing of the Tang dynasty through the adoption of shoulder straps attached to their skirts and wore the skirts over the jeogori.^[47]^[49] The influence of the Tang dynasty was very strong and the Tang court dress regulations were adopted in the Silla court.^[45]^[50]

Reconstruction of Silla king's and queen's attire
Gold waist belt used by royalty of Silla.
Women figures wearing Tang-dynasty style clothing, Silla.

Balhae

Balhae (698–926 AD) imported a lot of various kind of silk and cotton cloth from the Tang and diverse items from Japan including silk products and ramie. In exchange, Balhae would export fur and leather. The clothing culture of Balhae were heterogeneous; it was not only influenced by the Tang dynasty but also had inherited Goguryeo and indigenous Mohe people elements.^[51] Early Balhae officials wore clothing appeared to continued the Three Kingdoms period tradition.^[51] However, after Mun of Balhae, Balhae started to incorporate elements from the Tang dynasty, which include the putou and round collared gown for its official attire.^[51] Male everyday clothing was similar to Gogoryeo clothing in terms of its headgear; i.e. hemp or conical hats with bird feathers; they also wore leather shoes and belts.^[51] Women clothing appears to have adopted clothing from Tang dynasty (i.e. upper garment with long sleeves which is partially covered by a long skirts and shoes with curled tips to facilitate walking) but also wore the ungyeon (Yunjuan; a silk shawl) which started to appear after the demise of the Tang dynasty. The Ungyeon use is unique to late Balhae period and is distinctive from the shawl which was worn by the women of the Tang dynasty.^[51] People from Balhae also wore fish-skin skirts and sea leopard leather top to keep warm.^[51]

In the North-South States Period (698–926 AD), Silla and Balhae adopted dallyeong, a circular-collar robe from the Tang dynasty of China.^[52]^[53] In Silla, the dallyeong was introduced by Muyeol of Silla in the second year of queen Jindeok of Silla.^[53]^[47] The dallyeon style from China was used as gwanbok, a formal attire for government officials, grooms, and dragon robe, a formal attire for royalty until the end of Joseon.^[53]

Dragon robe (or ikseongwanpo): business attire for king
Hongryongpo: everyday clothes for king
Hwangryongpo: everyday clothes for emperor styled after the Chinese imperial robe. Gojong began to wear the yellow robe once restricted only to the Chinese emperors.
Tongcheongwan and Gangsapo

Goryeo

The Chinese style imported in the Northern-South period, however, did not affect hanbok still used by the commoners, and due to its extravagance, King Heundeog enforced clothing prohibition during the year 834 AD.^[47] In the following Goryeo period, use of the Chinese Tang dynasty style of wearing the skirt over the top faded, and the wearing of top over skirt was revived in the aristocrat class.^[16]^[17] Instead, the clothing and headwear of royalty and nobles typically followed the clothing system of the Song dynasty; the Song dynasty clothing worn by royalty and aristocrats (possibly the painting donors) are typically depicted in the Buddhist painting of Goryeo.^[54] The Goryeo painting "Water-Moon Avalokiteshvara", for example, is a buddhist painting which was derived from both Chinese and Central Asian pictorial references.^[55] On the other hand, the Chinese clothing worn in Yuan dynasty rarely appeared in paintings of Goryeo.^[54]

A woman's attire in a Goryeo dynasty painting, from the Water-Moon Avalokiteshvara, 1323 AD.
Portrait of Lady Jo ban (1341-1401 AD), Goryeo dynasty.
Mural tomb of Bak Ik in Gobeop-ri, Miryang. Bak Ik was a civil official who lived from 1332-1398 AD.
Portrait of Yi Je-hyeon (1287–1367 AD) of the Goryeo dynasty, wearing simui.

Hanbok went through significant changes under Mongol rule. After the Goryeo dynasty signed a peace treaty with the Mongol Empire in the 13th century, Mongolian princesses who married into the Korean royal house brought with them Mongolian fashion which began to prevail in both formal and private life.^[47]^[56]^[57]^[58] A total of seven women from the Yuan imperial family were married to the Kings of Goryeo.^[59] The Yuan dynasty princess followed the Mongol lifestyle who was instructed to not abandon the Yuan traditions in regards to clothings and precedents.^[47] As a consequence, the clothing of Yuan was worn in the Goryeo court and impacted the clothing worn by the upper class families who visited the Goryeo court.^[47] The Yuan clothing culture which influenced the upper classes and in some extent the general public is called Mongolpung.^[59] King Chungryeol, who was political hostage to the Yuan dynasty and pro-Yuan, married the princess of Yuan announcing a royal edict to change into Mongol clothing.^[47] After the fall of the Yuan dynasty, only Mongol clothing which were beneficial and suitable to Goryeo culture were maintained while the others disappeared.^[47] As a result of the Mongol influence, the chima skirt was shortened, and jeogori was hiked up above the waist and tied at the chest with a long, wide ribbon, the goruem (an extending ribbon tied on the right side) instead of the twii (i.e. the early sash-like belt) and the sleeves were curved slightly.^{[citation needed]}

The cultural exchange was also bilateral and Goryeo had cultural influence on the Mongols court of the Yuan dynasty (1279–1368); one example is the influence of Goryeo women's hanbok on the attire of aristocrats, queens, and concubines of the Mongol court which occurred in the capital city, Dadu.^[60]^[61]^[62] However, this influence on the Mongol court clothing mainly occurred in the last years of the Yuan dynasty.^[63]^[59] Throughout the Yuan dynasty, many people from Goryeo were forced to move into the Yuan; most of them were kongnyo (literally translated as "tribute women"), eunuchs, and war prisoners.^[59]^[64] About 2000 women from Goryeo were sent to Yuan as kongnyo against their will.^[59] Although women from Goryeo were considered very beautiful and good servants, most of them lived in unfortunate situations, marked by hard labour and sexual abuse.^[59] However, this fate was not reserved to all of them; and one Goryeo woman became the last Empress of the Yuan dynasty; this was Empress Gi who was elevated as empress in 1365.^[59] Most of the cultural influence that Goryeo exerted on the upper class of the Yuan dynasty occurred when Empress Gi came into power as empress and started to recruit many Goryeo women as court maids.^[59] The influence of Goryeo on the Mongol court's clothing during the Yuan dynasty was dubbed as Goryeoyang ("the Goryeo style") and was rhapsodized by the Late Yuan dynasty poet, Zhang Xu, in the form of a short banbi (半臂) with square collar (方領).^[59]^[65] However, so far, the modern interpretation on the appearance of Mongol royal women's clothing influenced by Goryeo is based on authors' suggestions.^[65] Similarly, the possibility that remains of goryeoyang influence on the Ming dynasty clothing in China is based on speculations and need to be studied further.^[66]

Joseon dynasty

Women's everyday wear

During the Joseon dynasty, the chima or skirt adopted fuller volume, while the jeogori or blouse took more tightened and shortened form, features quite distinct from the hanbok of previous centuries, when chima was rather slim and jeogori baggy and long, reaching well below waist level. After the Japanese invasions of Korea (1592–98) or Imjin War, economic hardship on the peninsula may have influenced the closer-fitting styles that use less fabric.^[67]

Early Joseon continued the women's fashion for baggy, loose clothing, such as those seen on the mural from the tomb of Bak Ik (1332–1398).^[68]

In the 15th century, neo-confucianism was very rooted in the social life in the fifteenth and sixteenth centuries which lead to the strict regulation of clothing (including fabric use, colours of fabric, motifs, and ornaments) based on status.^[69] Neo-confucianism also influence women's wearing of full-pleated chima, longer jeogori, and multiple layers clothing in order to never reveal skin.^[70] The 15th century AD chima-jeogori style was undoubtedly a clothing style introduced from China.^[70] The women of the upper classes, the monarchy and the court wore hanbok which was inspired by the Ming dynasty clothing while simultaneously maintaining a distinctive Korean-style look; in turn, the women of the lower class generally imitated the upper class women clothing.^[71]

15th century lady
15th century lady

However, by the 16th century, the jeogori had shortened to the waist and appears to have become closer fitting, although not to the extremes of the bell-shaped silhouette of the 18th and 19th centuries.^[72]^[73]^[67] In the 16th century, women's jeogori was long, wide, and covered the waist.^[74] The length of women's jeogori gradually shortened: it was approximately 65 cm in the 16th century, 55 cm in the 17th century, 45 cm in the 18th century, and 28 cm in the 19th century, with some as short as 14.5 cm.^[74] A heoritti (허리띠) or jorinmal (졸잇말) was worn to cover the breasts.^[74] The trend of wearing a short jeogori with a heoritti was started by the gisaeng and soon spread to women of the upper class.^[74] Women of lower class status were however ambivalent towards skin exposure of breasts.^[75] Among women of the common and lowborn classes, a practice emerged in which they revealed their breasts by removing a cloth to make breastfeeding more convenient.^[76] The breast-exposing hanbok was worn with pride as a status symbol in order to show off that they had given birth to a son and to feed her child to make other women envious; at those times, giving birth to a son was the greatest pride of a woman due to the excessive preference for male heirs in Joseon.^[75]

In the eighteenth century, the jeogori became very short to the point that the waistband of the chima was visible; this style was first seen on female entertainers at the Joseon court.^[71] The jeogori continued to shorten until it reached the modern times jeogori-length; i.e. just covering the breasts.^[70] During the seventeenth and eighteenth centuries the fullness of the skirt was concentrated around the hips, thus forming a silhouette similar to Western bustles. The fullness of the skirt reached its extreme around 1800. During the 19th century fullness of the skirt was achieved around the knees and ankles thus giving chima a triangular or an A-shaped silhouette, which is still the preferred style to this day. Many undergarments such as darisokgot, soksokgot, dansokgot, and gojengi were worn underneath to achieve desired forms.

A clothes reformation movement aimed at lengthening jeogori experienced wide success in the early 20th century and has continued to influence the shaping of modern hanbok. Modern jeogori are longer, although still halfway between the waistline and the breasts. Heoritti are sometimes exposed for aesthetic reasons. At the end of the 19th century, as mentioned above, Heungseon Daewongun introduced magoja, a Manchu-style jacket, which is often worn over jeogori to this day.

Women's hanbok consists of chima skirt and jeogori shirt.
Full skirt and tight jeogori were considered fashionable. 18th century.
A rare painting of yangban women. Yangban ladies were sensitive to "fashion fads" which worried Seonbi scholars. 18th century.
Soksokgot, similar to a petticoat, is shown under the woman's skirt. 18th century.
Dancing together with two swords

Men's everyday wear

Men's hanbok saw little change compared to women's hanbok. The form and design of jeogori and baji hardly changed.

In contrast, men's lengthy outwear, the equivalent of the modern overcoat, underwent a dramatic change. Before the late 19th century, yangban men almost always wore jungchimak when traveling. Jungchimak had very lengthy sleeves, and its lower part had splits on both sides and occasionally on the back so as to create a fluttering effect in motion. To some this was fashionable, but to others, namely stoic scholars, it was nothing but pure vanity. Daewon-gun successfully banned jungchimak as a part of his clothes reformation program and jungchimak eventually disappeared.

Durumagi, which was previously worn underneath jungchimak and was basically a house dress, replaced jungchimak as the formal outwear for yangban men. Durumagi differs from its predecessor in that it has tighter sleeves and does not have splits on either sides or back. It is also slightly shorter in length. Men's hanbok has remained relatively the same since the adoption of durumagi. In 1884, the Gapsin Dress Reform took place.^[77] Under the 1884's decree of King Gojong, only narrow-sleeves traditional overcoat were permitted; as such, all Koreans, regardless of their social class, their age and their gender started to wear the durumagi or chaksuui or ju-ui (周衣).^[40]^[77]

Hats was an essential part formal dress and the development of official hats became even more pronounced during this era due to the emphasis of Confucian values.^[78] The gat was considered an essential aspect in a man's life; however, to replace the gat in more informal setting, such as their residences, and to feel more comfortable, Joseon-era aristocrats also adopted a lot hats which were introduced from China, such as the banggwan, sabanggwan, dongpagwan, waryonggwan, jeongjagwan.^[78] The popularity of those Chinese hats may have partially been due to the promulgation of Confucianism and because they were used by literary figures and scholars in China.^[78] In 1895, King Gojong decreed adult Korean men to cut their hair short and western-style clothing were allowed and adopted.^[77]

A man wearing jungchimak. 18th century.
The "fluttering" effect. 18th century.
Waryonggwan and hakchangui in 1863
Photograph taken in 1863
Photograph taken in 1863
Bokgeon and simui in 1880
Black bokgeon and blue dopo in 1880
Jeongjagwan on the head
A Korean in mourning clothes
Korean men, 1871
Young Korean man of the middle class, 1904
Korean mother and daughter, 1910–1920

Material and color

The upper classes wore hanbok of closely woven ramie cloth or other high-grade lightweight materials in warm weather and of plain and patterned silks the rest of the year. Commoners were restricted by law as well as resources to cotton at best.

The upper classes wore a variety of colors, though bright colors were generally worn by children and girls and subdued colors by middle-aged men and women. Commoners were restricted by law to everyday clothes of white, but for special occasions they wore dull shades of pale pink, light green, gray, and charcoal. The color of chima showed the wearer's social position and statement. For example, a navy color indicated that a woman had son(s). Only the royal family could wear clothing with geumbak-printed patterns (gold leaf) on the bottom of the chima.

Headdresses

Both male and female wore their hair in a long braid until they were married, at which time the hair was knotted; man's hair was knotted in a topknot called sangtu (상투) on the top of the head, and the woman's hair was rolled into a ball shaped form or komeori and was set just above the nape of the neck.

A long pin, or binyeo (비녀), was worn in women's knotted hair as both a fastener and a decoration. The material and length of the binyeo varied according to the wearer's class and status. And also wore a ribbon or daenggi (댕기) to tie and to decorate braided hair. Women wore a jokduri on their wedding day and wore an ayam for protection from the cold. Men wore a gat, which varied according to class and status.

Before the 19th century, women of high social backgrounds and gisaeng wore wigs (gache). Like their Western counterparts, Koreans considered bigger and heavier wigs to be more desirable and aesthetic. Such was the women's frenzy for the gache that in 1788 King Jeongjo banned by royal decree the use of gache, as they were deemed contrary to the Korean Confucian values of reserve and restraint.^[79]

Due to the influence of Neo-Confucianism, it was compulsory for women throughout the entire society to wear headdresses (nae-oe-seugae) to avoid exposing their faces when going outside; those headdresses may include suegaechima (a headdress which looked like a chima but was narrower and shorter in style worn by the upper class women and later by all classes of people in late Joseon), the jang-ot, and the neoul (which was only permitted for court ladies and noblewomen).^[80]

In the 19th century yangban women began to wear jokduri, a small hat that replaced gache. However gache enjoyed vast popularity in kisaeng circles well into the end of the century.

Later development

Today's hanbok is the direct descendant of hanbok patterned after those worn by the aristocratic women or by the people who were at least from the middle-class in the Joseon period,^[50]^[81] specifically the late 19th century. Hanbok had gone through various changes and fashion fads during the five hundred years under the reigns of Joseon kings and eventually evolved to what we now mostly consider typical hanbok.

Beginning in the late 19th century, hanbok was largely replaced by new Western imports like the Western suit and dress. Today, formal and casual wear are usually based on Western styles. However, hanbok is still worn for traditional occasions, and is reserved for celebrations like weddings, the Lunar New Year, annual ancestral rites, or the birth of a child.

Social status

Especially from the Goryeo Dynasty, the hanbok started to determine differences in social status through the many types and components,^[82] and their characteristics^[83] - from people with the highest social status (kings), to those of the lowest social status (slaves).^[82] Although the modern Hanbok does not express a person's status or social position, Hanbok was an important element of distinguishment especially in the Goryeo and Joseon Dynasties.^[83]

Clothes

Hwarot

Hwarot or Hwal-Ot (Hangul: 활옷) was the full dress for a princess and the daughter of a king by a concubine, formal dress for the upper class, and bridal wear for ordinary women during the Goryeo and Joseon dynasties.^[84] Popular embroidered patterns on Hwal-Ot were lotuses, phoenixes, butterflies, and the ten traditional symbols of longevity: the sun; mountains; water; clouds; rocks/stone; pine trees; the mushroom of immortality; turtles; white cranes, and deer.^[85] Each pattern represented a different role within society, for example: a dragon represented an emperor a phoenix represented a queen; floral patterns represented a princess and a king's daughter by a concubine, and clouds and cranes represented high ranking court officials.^[84] All these patterns throughout Korean history had meanings of longevity, good luck, wealth and honor.^[84] Hwal-Ot also had blue, red, and yellow colored stripes in each sleeve - a woman usually wore a scarlet-colored skirt and yellow or green-colored Jeogori, a traditional Korean jacket.^[84] Hwal-Ot was worn over the Jeogori and skirt.^[84] A woman also wore her hair in a bun, with an ornamental hairpin and a ceremonial coronet.^[84] A long ribbon was attached to the ornamental hairpin, the hairpin is known as Yongjam (용잠).^[84] In more recent times, people wear Hwal-Ot on their wedding day, and so the Korean tradition survives in the present day.^[84]

Wonsam

Wonsam (Hangul: 원삼) was a ceremonial overcoat for a married woman in the Joseon dynasty.^[86] The Wonsam was also adopted from China and is believed to have been one of the costumes from the Tang dynasty which was bestowed in the Unified Three Kingdoms period.^[53] It was mostly worn by royalty, high-ranking court ladies, and noblewomen and the colors and patterns represented the various elements of the Korean class system.^[86] The empress wore yellow; the queen wore red; the crown princess wore a purple-red color; meanwhile a princess, a king's daughter by a concubine, and a woman of a noble family or lower wore green.^[86] All the upper social ranks usually had two colored stripes in each sleeve: yellow-colored Wonsam usually had red and blue colored stripes, red-colored Wonsam had blue and yellow stripes, and green-colored Wonsam had red and yellow stripes.^[86] Lower-class women wore many accompanying colored stripes and ribbons, but all women usually completed their outfit with Onhye or Danghye, traditional Korean shoes.^[86]

Dangui

Dangui or Tangwi (Hangul: 당의) were minor ceremonial robes for the queen, a princess, or wife of a high ranking government official while it was worn during major ceremonies among the noble class in the Joseon dynasty.^[85] The materials used to make "Dang-Ui" varied depending on the season, so upper-class women wore thick Dang-Ui in winter while they wore thinner layers in summer.^[87] Dang-Ui came in many colors, but yellow and/or green were most common. However the emperor wore purple Dang-Ui, and the queen wore red.^[87] In the Joseon dynasty, ordinary women wore Dang-Ui as part of their wedding dress.^[87]

Myeonbok and Jeokui

Myeonbok

Myeonbok (Hangul: 면복) were the king's religious and formal ceremonial robes while Jeokui were the queen's equivalent during the Goryeo and Joseon dynasties.^[88] Myeonbok was composed of Myeonryu-Gwan (Hangul: 면류관) and Gujang-bok (Hangul: 구장복).^[88] Myonryu-Gwan had beads, which hung loose; these would prevent the king from seeing wickedness.^[88] There were also wads of cotton in the left and right sides of Myeonryu-Gwan, and these were supposed to make the king oblivious to the influence of corrupt officials. Gujang-bok was black, and it bore nine symbols, which all represented the king.^[88]

Nine symbols

Dragon:A dragon's appearance paralleled how the king governed and subsequently brought balance to the world.^[88]
Fire: The king was expected to be intelligent and wise to govern the people effectively, like a guiding light represented by the fire.^[88]
Pheasant: The image of a pheasant represented magnificence.^[88]
Mountain: As a mountain is high, the king was on a par in terms of status and was deserving of respect and worship.^[88]
Tiger: A tiger represented the king's courage.^[88]
Monkey: A monkey symbolized wisdom.^[88]
Rice: As the people needed rice to live, the king was compared to this foodstuff as he had the responsibility of protecting their welfare.^[88]
Axe: This indicated that the king had the ability to save and take lives.^[88]
Water plant: Another depiction of the king's magnificence.^[88]

Jeokui

Jeokui or Tseogwi (Hangul: 적의) was arranged through the use of different colors as a status symbol within the royal family.^[89] The empress wore purple-red colored Jeokui, the queen wore pink, and the crown princess wore deep blue.^[89] "Jeok" means pheasant, and so Jeokui often had depictions of pheasants embroidered onto it.^[89]

Cheolique

Cheolique (Alt. Cheolick or Cheollik) (Hangul: 철릭) was a Korean adaptation of the Mongol tunic, imported in the late 1200s during the Goryeo dynasty. Cheolique, unlike other forms of Korean clothing, is an amalgamation of a blouse with a kilt into a single item of clothing. The flexibility of the clothing allowed easy horsemanship and archery. During the Joseon dynasty, they continued to be worn by the king, and military officials for such activities.^[90] It was usually worn as a military uniform, but by the end of the Joseon dynasty, it had begun to be worn in more casual situations.^[90] A unique characteristic allowed the detachment of the Cheolique's sleeves which could be used as a bandage if the wearer was injured in combat.^[90]

Ayngsam

Ayngsam (Hangul: 앵삼;鶯衫) was the formal clothing for students during the national government exam and governmental ceremonies.^[91] It was typically yellow, but for the student who scored the highest in the exam, they were rewarded with the ability to wear green Aengsam.^[91] If the highest-scoring student was young, the king awarded him with red-colored Aengsam.^[91] It was similar to the namsam (난삼/襴衫) but with a different colour.^[92]

Accessories

Binyeo

Binyeo or Pinyeo (Hangul: 비녀) was a traditional ornamental hairpin, and it had a different-shaped tip again depending on social status.^[93] As a result, it was possible to determine the social status of the person by looking at the binyeo. Women in the royal family had dragon or phoenix-shaped Binyeo while ordinary women had trees or Japanese apricot flowers.^[94] And Binyeo was a proof of marriage. Therefore, to a woman, Binyeo was an expression of chastity and decency.^[95]

Daenggi

Daenggi is a traditional Korean ribbon made of cloth to tie and to decorate braided hair.

Norigae

Norigae (Hangul: 노리개) was a typical traditional accessory for women; it was worn by all women regardless of social ranks.^[96]^[97] However, the social rank of the wearer determined the different sizes and materials of the norigae.^[97]

Danghye

Danghye or Tanghye (Hangul: 당혜) were shoes for married women in the Joseon dynasty.^[98] Danghye were decorated with trees bearing grapes, pomegranates, chrysanthemums, or peonies: these were symbols of longevity.^[99]

Kunghye

Danghye for a woman in the royal family were known as Kunghye (Hangul: 궁혜), and they were usually patterned with flowers.^[99]

Onhye

Danghye for an ordinary woman were known as Onhye (Hangul: 온혜).^[99]

Modern times

Although hanbok is a traditional costume, it has been re-popularized in modern fashion.^[100] Contemporary brands, such as the Modern Hanbok of the "Korean in Me"^[101] and Kim MeHee,^[102] have incorporated traditional designs in their upscale modern clothes. Modern hanbok has been featured in international haute couture; on the catwalk, in 2015 when Karl Lagerfield dressed Korean models for Chanel, and during Paris Fashion Week in photography by Phil Oh.^[103] It has also been worn by international celebrities, such as Britney Spears and Jessica Alba, and athletes, such as tennis player Venus Williams and football player Hines Ward.^[104]

Hanbok is also popular among Asian-American celebrities, such as Lisa Ling and Miss Asia 2014, Eriko Lee Katayama.^[102] It has also made appearances on the red carpet, and was worn by Sandra Oh at the SAG Awards, and by Sandra Oh's mother who made fashion history in 2018 for wearing a hanbok to the Emmy Awards.^[105]

The South Korean government has supported the resurgence of interest in hanbok by sponsoring fashion designers.^[106] Domestically, hanbok has become trendy in street fashion and music videos. It has been worn by the prominent K-pop artists like Blackpink and BTS, notably in their music videos for "How You Like That" and "Idol."^[107]^[108] As the hanbok continues to modernize, opinions are divided on the redesigns.^[109]

In Seoul, a tourist's wearing of hanbok makes their visit to the Five Grand Palaces (Changdeokgung, Changgyeonggung, Deoksugung, Gyeongbokgung and Gyeonghuigung) free of charge.

Recent history

Controversy over distortion of hanbok in China

The controversy over distortion of hanbok in China is a series of moves in China to incorporate Korean traditional clothing, hanbok, into 'Chinese culture, traditional Chinese clothing' and to give it a Chinese identity. It is a kind of attempt by China to subjugate Korean culture. Controversy over distortion of hanbok in China has existed since the time of China’s Northeast Asia Project^[110]. Since the 2000s, hanbok has appeared in various Chinese cultural media, including Chinese dramas, and was introduced as a type of hanfu. As a result, disputes began to arise between China and Korea.

In early November 2020, the Chinese mobile game 'Shining Nikki' changed the hanbok costume that was promoted as a Korean traditional costume to a Chinese traditional costume due to a Chinese user's protest. As Korean users protested, 'Shining Nikki' announced the abrupt termination of the Korean service.^[111] Through this 'Shining Nikki' Hanbok incident, the controversy about the distortion of Hanbok and Hanfu in China directly occurred in Korea. Koreans began to perceive China's Northeast Project for Hanbok as a serious problem, calling it the 'Hanbok Northeast Project'.

Footnotes

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^ McCallion, 2008, p. 221 - 228
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^ "Designers add a modern twist to hanbok style : Government is keen to show the world the versatility of Korea's traditional attire". Korea JoongAng Daily (in Korean). Retrieved 17 October 2018.
^ "11 times BTS rocked traditional Korean clothing". SBS PopAsia. Retrieved 17 October 2018.
^ "Here's Everything You Need To Know About BLACKPINK's Korean Hanbok Outfits In "How You Like That" MV". 26 June 2020.
^ "Girls are wearing hanboks with skirts now, and Koreans aren't sure how they feel about it". Koreaboo. 9 October 2017. Retrieved 17 October 2018.
^ Dispute over history: China’s Northeast Asia Project. VANK. {{cite web}}: Invalid |script-title=: missing prefix (help)
^ ""한복 동북공정 논란 '샤이닝니키' 1주일만에 서비스 종료"…환불 절차 안내 없어 또 '논란'" ["Shining Nikki's service ended after 1 week of controversy over the Hanbok Northeast Project" No refund procedure, another ‘controversy’] (in Korean). Maeil Business Newspaper. 6 November 2020.

References

An, Myung Sook (안명숙); Kim, Yong Ser (김용서) (in Korean) 1998. Hanʼguk poksiksa (한국복식사). Seoul. Yehaksa (예학사) ISBN 978-89-89668-11-4
Kim, Ki Sun (김기선). (in Korean) 2005. Information about Mongolian pigtail 몽골의 辮髮에 대하여. The Institute of Asian Ethno-Forms and Culture. v. 5, 81-97
Kim, Moon Ja (in Korean), 2004. A study on the Source of Hanbok in ancient times and the position of Hanbok on the Globalism (고대 한복의 원류 및 세계화 속의 한복의 위치), Society of Korean Traditional Costume, v. 7.1, 7-15
Lee, Kyung-Ja (이경자) (in Korean), 2003, Uri ot ŭi chŏntʻong yangsik (우리옷의 전통양식 The Traditional Style of Korean Clothes) Ewha Women's University Press. ISBN 89-7300-514-6
Levinson, David (2002). Encyclopedia of modern Asia, Volume 2. Charles Scribner's Sons. pp. 120–121. ISBN 978-0-684-80617-4.
McCallion, Aleasha; Condra, Jill. 2008. The Greenwood Encyclopedia of Clothing Through World History. Greenwood Publishing Group. p. 221 - 228, ISBN 0-313-33664-4
Nelson, Sarah. 1993. The archaeology of Korea. Cambridge University Press. ISBN 0-521-40783-4
You, Soon Lye (유순례) (in Korean) 2006, Comparative Research on the Costume Aesthetic Korean & Mongolia (몽골과 한국의 전통복식 미의식 비교에 대한 연구), Society of Korean Traditional Costume, v. 6, 183-185

External links

Media related to Hanbok at Wikimedia Commons
Hanbok History Evolution
Hanbok History Infographic
History of Hanbok (in Korean)
Information about Hanbok (in Korean)
Traditional Korean Clothing - Life in Korea
Official Korea Tourism Organization - Hanbok Clothing

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@@ Line 21: / Line 21: @@
 [[File:Hanbok accessories.jpg|thumb|{{lang|ko-Latn|Hanbok}} accessories]]
 [[File:Children dressed in Korean traditional clothing at the opening ceremony for Old Korean Legation - 2018 (42300672731).jpg|thumb|Children in [[Washington DC]] wearing {{lang|ko-Latn|hanbok}}]]
 The '''{{lang|ko-Latn|hanbok}}''' (in [[South Korean standard language|South Korea]]) or '''{{lang|ko-Latn|Chosŏn-ot}}''' (in [[North Korean standard language|North Korea]]) is the traditional Korean clothes. The term "Hanbok" literally means "Korean clothing". It was established as a part of the unique living culture of Korea, influenced by the geographical and climatic nature of the Korea, and handed down throughout the years to present times.<ref>Korean Culture and Information Service, 2018, Ministry of Culture, Sports and Tourism of the Republic of Korea</ref>
 Hanbok is characterized by its wrapped front top, long, high waisted skirt and its typically vibrant colours. Two piece clothing style of Hanbok is closer to the style of the nomadic tribes.<ref>역사 속의 우리 옷 변천사, 2009, Chonnam National University Press</ref>
-Hanbok can be traced back to the [[Three Kingdoms of Korea]] period (1th century BC–7th century AD), with roots in the peoples of what is now northern Korea and Manchuria, including significant influences from various [[Chinese dynasties]]. Early forms of Hanbok can be seen in the art of [[Goguryeo]] tomb murals in the same period. The earliest ones can be found in mural paintings dating from the 5th century.<ref>The Dreams of the Living and the Hopes of the Dead-Goguryeo Tomb Murals, 2007, Ho-Tae Jeon, Seoul National University Press</ref>
+Hanbok can be traced back to the [[Three Kingdoms of Korea]] period (1st century BC ~ 7th century AD), with roots in the peoples of what is now northern Korea and Manchuria. Early forms of Hanbok can be seen in the art of [[Goguryeo]] tomb murals in the same period. The earliest ones can be found in mural paintings dating from the 5th century.<ref>The Dreams of the Living and the Hopes of the Dead-Goguryeo Tomb Murals, 2007, Ho-Tae Jeon, Seoul National University Press</ref>
 From this time, the basic structure of hanbok, namely the jeogori jacket, baji pants, and the chima skirt, were already established. Short, tight trousers and tight, waist-length jackets were worn by both men and women during the early years of the Three Kingdoms of Korea period. The basic structure and these basic design features of hanbok remain relatively unchanged to this day.
 In the modern day, {{lang|ko-Latn|"hanbok"}} usually refers specifically to the clothing worn and developed during the {{lang|ko-Latn|[[Joseon]]|italic=no}} dynasty period by the upper classes. In general, the clothing of Korea's rulers and aristocrats was influenced by both foreign and [[Indigenous peoples|indigenous]] styles, resulting in some styles of clothing, such as the [[Shenyi|''simui'']] from China's Song Dynasty, {{lang|ko-Latn|[[gwanbok]]}} worn by male officials and Court clothing of women in the court and women of royalty were adapted from the clothing style of China's [[Ming dynasty|Ming]] dynasties.<ref>{{Cite book|url=https://www.worldcat.org/oclc/156808055|title=The Greenwood encyclopedia of clothing through world history|date=2008|others=Jill Condra|isbn=978-0-313-33662-1|location=Westport, Connecticut|oclc=156808055}}</ref><ref>McCallion, 2008, p. 221 - 228</ref> The cultural exchange was also bilateral and [[Goryeo]] hanbok had cultural influence on the [[Yuan dynasty]].<ref>고려(高麗)의 원(元)에 대(對)한 공녀(貢女),유홍렬,震檀學報,1957</ref>
@@ Line 44: / Line 44: @@
 The form of ''Jeogori'' has changed over time.<ref name="Britannica" /> While men's ''jeogori'' remained relatively unchanged, women's ''jeogori'' dramatically shortened during the Joseon dynasty, reaching its shortest length at the late 19th century. However, due to reformation efforts and practical reasons, modern ''jeogori'' for women is longer than its earlier counterpart. Nonetheless the length is still above the waistline. Traditionally, ''goreum'' were short and narrow, however modern ''goreum'' are rather long and wide. There are several types of ''jeogori'' varying in fabric, sewing technique, and shape.<ref name="Britannica" /><ref name="Jeogori Reborns with New Visions of a Thousand" />
 ===Chima===
 ''Chima'' refers to "skirt," which is also called ''sang'' ({{linktext|裳}}) or ''gun'' ({{linktext|裙}}) in [[hanja]].<ref name="EncyKorea">{{cite web|url=http://100.empas.com/dicsearch/pentry.html?s=K&i=268156&v=45 |script-title=ko:치마 |publisher=[[Nate (web portal)|Nate]] / [[Encyclopedia of Korean Culture|EncyKorea]] |language=ko}}</ref><ref name="Doosan" /><ref name="Britannica">{{cite web|url=http://100.empas.com/dicsearch/pentry.html?s=B&i=191326&v=45 |script-title=ko:치마 |publisher=[[Nate (web portal)|Nate]] / [[Britannica]] |language=ko}}</ref> The underskirt, or [[petticoat]] layer, is called ''sokchima''. According to ancient murals of [[Goguryeo]] and an earthen toy excavated from the neighborhood of [[Hwangnam-dong]], [[Gyeongju]], Goguryeo women wore a ''chima'' with ''jeogori'' over it, covering the belt.<ref name="Koreana">{{cite journal |url=http://eng.actakoreana.org/clickkorea/text/13-Clothing/13-95aut-charateristics.html |title=Characteristics of the Korean Costume and Its Development |author=Cho, Woo-hyun |publisher=Koreana |volume=9 |issue=3 }}{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref><ref name="Hanstyle">{{cite web |url=http://www.han-style.com/hanbok/history/hanbok_style.jsp |script-title=ko:유행과 우리옷 |trans-title=Fashion and Korean clothing |publisher=Korea the sense |language=ko |url-status=dead |archive-url=https://web.archive.org/web/20120302181258/http://www.han-style.com/hanbok/history/hanbok_style.jsp |archive-date=2012-03-02 }}</ref>
@@ Line 86: / Line 87: @@
 ==History==
 ===Antiquity===
 The hanbok can be traced back to the [[Three Kingdoms of Korea]] period (57 BC to 668 AD).<ref>{{cite book |last1=Myeong-Jong |first1=Yoo |title=The Discovery of Korea: History-Nature-Cultural Heritages-Art-Tradition-Cities |date=2005 |publisher=Discovery Media |isbn=978-8995609101 |page=123}}</ref><ref>{{cite book |editor1-last=Macdonald |editor1-first=Fiona |title=Peoples of Eastern Asia |date=2004 |publisher=Marshall Cavendish |isbn=9780761475545 |page=366 |url=https://books.google.com/books?id=-ZuImINv0soC&pg=PA366 |access-date=18 October 2019}}</ref><ref name=":8">{{cite book |last1=Lee |first1=Samuel Songhoon |title=Hanbok: Timeless Fashion Tradition |date=2015 |publisher=Seoul Selection |isbn=9781624120565 |url=https://books.google.com/books?id=-F01CwAAQBAJ |access-date=18 October 2019}}</ref><ref name="KCIS">{{cite book |last1=Korean Culture and Information Service (South Korea) |title=Guide to Korean Culture: Korea's cultural heritage |date=2014 |publisher=길잡이미디어 |isbn=9788973755714 |page=90 |url=https://books.google.com/books?id=NoxoBgAAQBAJ&pg=PA90 |access-date=18 October 2019}}</ref> The origin of ancient hanbok can be found in the ancient clothing of what is now today's Northern Korea and [[Manchuria]];<ref name="Greenwood">{{cite book|url=https://books.google.com/books?id=S8bTzilz1BMC&pg=PA223|title=The Greenwood Encyclopedia of Clothing Through World History, Volume II|date=2008|publisher=Greenwood Publishing Group|isbn=9780313336645|editor1-last=Condra|editor1-first=Jill|page=223|access-date=18 October 2019}}</ref> the ancient hanbok shared similarities with the clothing of the nomadic culture, hobok, through the ancient Korean's cultural exchange with the northern nomads of [[Scythians|Scythai]].<ref name="한국의상디자인학회지">{{cite journal|journal=한국의상디자인학회지|volume=20( 1)|pages=61–77|doi=10.30751/kfcda.2018.20.1.61|doi-access=free|title=Scythai's clothing type and style: Focusing on the relationship with ancient Korea|year=2018|last1=김소희|last2=채금석}}</ref> Despite Scythai's influence, the ancient hanbok of ancient Korea which consists of today's Manchuria and Northern Korea was distinct from Scythai's clothing.<ref name="한국의상디자인학회지" /> Early forms of Hanbok can be seen in the art of [[Goguryeo tombs|Goguryeo tomb]] murals in the same period from the 6th century AD.<ref name="KCIS"/><ref name="Greenwood"/><ref name="한국의상디자인학회지"/><ref>Nelson, 1993, p.7 & p.213-214</ref>
 From this time, the basic structure of hanbok, namely the ''[[jeogori]]'' jacket, ''[[Baji (clothing)|baji]]'' pants, and the long, ''[[Chima (clothing)|chima]]'' skirt, were already established. Short, tight trousers and tight, waist-length jackets, ''twii'' (a sash-like belt) were worn by both men and women during the early years of the [[Three Kingdoms of Korea|Three Kingdoms of Korea period]].<ref name=":8" /><ref name=":15">{{Cite book|url=https://www.worldcat.org/oclc/843418851|title=Encyclopedia of national dress : traditional clothing around the world|date=2013|others=Jill Condra|isbn=978-0-313-37637-5|location=Santa Barbara, Calif.|pages=409|oclc=843418851}}</ref> Women also wore ''baji'' under their ''chima''<ref name=":8" /><ref name=":15" /> The basic structure and these basic design features of hanbok remain relatively unchanged to this day,<ref>{{cite web|url=http://www.korea.net/news/News/LangView.asp?serial_no=20081111006 |title=The beauty of Korean tradition - Hanbok |author=Korea Tourism Organization |author-link=Korea Tourism Organization |date=November 20, 2008 |publisher=Korea.net}}</ref> except for the length and the ways the ''jeogori'' opening was folded as over the years, there were changes.<ref name=":8" /> Originally the ''jeogori'' opening was closed at the central front of the clothing, similar to a [[kaftan]]; the fold opening later changed to the left before eventually closing to the right side.<ref name=":8" /> Since the sixth century AD, the closing of the ''jeogori'' at the right became a standard practice.<ref name=":8" /> The length of the female ''jeogori'' also varied throughout time.<ref name=":8" /> For example, women's ''jeogori'' which are seen in Goguryeo paintings which date to the late fifth century AD are depicted shorter in length than the man's ''jeogori''.<ref name=":8" />
@@ Line 105: / Line 106: @@
 ==== United Silla ====
 The [[Silla]] Kingdom unified the [[Three Kingdoms of Korea|Three Kingdoms]] in 668 AD. The [[Later Silla|Unified Silla]] (668-935 AD) was the golden age of Korea. In Unified Silla, various silks, linens, and fashions were imported from [[Tang dynasty|Tang]] China and Persia.<ref name=":8" /> In the process, the latest fashions trend of [[Luoyang]] which included Chinese dress styles, the second capital of Tang, were also introduced to Korea, where the Korean silhouette became similar to the Western [[Empire silhouette]]. Under the influence of China's [[Tang dynasty]], aristocratic women in United Silla started to wear their skirts over their jackets, which is a distinctive dress style worn by the women of the [[Tang dynasty]].<ref name=":8" /> King [[Muyeol of Silla]] personally travelled to the [[Tang dynasty]] to voluntarily request for clothes and belts; it is however difficult to determine which specific form and type of clothing was bestowed although Silla requested the bokdu (幞頭; a form of hempen hood during this period), danryunpo (團領袍; round collar gown), [[banbi]], baedang (䘯襠), and pyo (褾).<ref name=":2">{{Cite journal|last1=Yu|first1=Ju-Ri|last2=Kim|first2=Jeong-Mee|date=2006|title=A Study on Costume Culture Interchange Resulting from Political Factors|journal=Journal of the Korean Society of Clothing and Textiles|volume=30|issue=3|pages=458–469}}</ref> Based on archeological findings, it is assumed that the clothing which was brought back during Queen Jindeok rule are ''danryunpo'' and ''bokdu''.<ref name=":2" /> The bokdu also become part of the official dress code of royal aristocrats, court musicians, servants, and slaves during the reign of [[Jindeok of Silla|Queen Jindeok]]; it continued to be used throughout the Goryeo dynasty.<ref>{{Cite book|last=National Research Institute of Cultural Heritage|url=https://www.worldcat.org/oclc/846696816|title=Gat : traditional headgear in Korea|date=2013|publisher=길잡이미디어|others=Hyŏng-bak Pak, Eunhee Hwang, Kungnip Munhwajae Yŏn'guso|isbn=978-89-6325-987-1|location=Daejeon, Korea|oclc=846696816}}</ref> In 664 AD, [[Munmu of Silla]] decreed that the costume of the queen should resemble the costume of the [[Tang dynasty]]; and thus, women's costume also accepted the costume culture of the [[Tang dynasty]].<ref name=":2" /> Women also sought to imitate the clothing of the Tang dynasty through the adoption of shoulder straps attached to their skirts and wore the skirts over the ''jeogori''.<ref name=":2" /><ref>{{Cite book|last=Lee|first=Samuel Songhoon.|url=http://worldcat.org/oclc/871061483|title=Hanbok : Timeless fashion tradition|isbn=978-89-97639-41-0|oclc=871061483}}</ref> The influence of the Tang dynasty was very strong and the Tang court dress regulations were adopted in the Silla court.<ref name=":15" /><ref name=":9">{{Cite book|last=Pratt|first=Keith L.|url=https://www.worldcat.org/oclc/42675362|title=Korea : a historical and cultural dictionary|date=1999|publisher=Curzon Press|others=Richard Rutt, James Hoare|isbn=978-0-7007-0464-4|location=Richmond, Surrey|pages=106|oclc=42675362}}</ref>
 <gallery>
@@ Line 126: / Line 127: @@
 ==== Goryeo ====
-The Chinese style imported in the Northern-South period, however, did not affect hanbok still used by the commoners, and due to its extravagance, [[Heungdeok of Silla|King Heundeog]] enforced clothing prohibition during the year 834 AD.<ref name=":2" /> In the following Goryeo period, use of the Chinese Tang dynasty style of wearing the skirt over the top faded, and the wearing of top over skirt was revived in the aristocrat class.<ref name="Koreana" /><ref name="Hanstyle" /> However, the clothing and headwear of royalty and nobles typically follows the clothing system of the [[Song dynasty]]; for example, the Song dynasty clothing are worn by royalty and aristocrats (possibly the painting donors) and is typically depicted in the Buddhist painting of Goryeo.<ref name=":7">{{Cite book|url=https://www.worldcat.org/oclc/1154853080|title=A companion to Korean art|date=2020|others=J. P. Park, Burglind Jungmann, Juhyung Rhi|isbn=978-1-118-92702-1|location=Hoboken, NJ|pages=192|oclc=1154853080}}</ref> The Goryeo painting "Water-Moon Avalokiteshvara", for example, is a buddhist painting which was derived from both Chinese and Central Asian pictorial references.<ref>{{Cite book|url=https://www.worldcat.org/oclc/38831761|title=Arts of Korea|date=1998|publisher=Metropolitan Museum of Art|others=Yang-mo Chŏng, Judith G. Smith, Metropolitan Museum of Art|isbn=0-87099-850-1|location=New York|pages=436|oclc=38831761}}</ref> On the other hand, the Chinese clothing worn in [[Yuan dynasty]] rarely appeared in paintings of Goryeo.<ref name=":7" />
+The Chinese style imported in the Northern-South period, however, did not affect hanbok still used by the commoners, and due to its extravagance, [[Heungdeok of Silla|King Heundeog]] enforced clothing prohibition during the year 834 AD.<ref name=":2" /> In the following Goryeo period, use of the Chinese Tang dynasty style of wearing the skirt over the top faded, and the wearing of top over skirt was revived in the aristocrat class.<ref name="Koreana" /><ref name="Hanstyle" /> Instead, the clothing and headwear of royalty and nobles typically followed the clothing system of the [[Song dynasty]]; the Song dynasty clothing worn by royalty and aristocrats (possibly the painting donors) are typically depicted in the Buddhist painting of Goryeo.<ref name=":7">{{Cite book|url=https://www.worldcat.org/oclc/1154853080|title=A companion to Korean art|date=2020|others=J. P. Park, Burglind Jungmann, Juhyung Rhi|isbn=978-1-118-92702-1|location=Hoboken, NJ|pages=192|oclc=1154853080}}</ref> The Goryeo painting "Water-Moon Avalokiteshvara", for example, is a buddhist painting which was derived from both Chinese and Central Asian pictorial references.<ref>{{Cite book|url=https://www.worldcat.org/oclc/38831761|title=Arts of Korea|date=1998|publisher=Metropolitan Museum of Art|others=Yang-mo Chŏng, Judith G. Smith, Metropolitan Museum of Art|isbn=0-87099-850-1|location=New York|pages=436|oclc=38831761}}</ref> On the other hand, the Chinese clothing worn in [[Yuan dynasty]] rarely appeared in paintings of Goryeo.<ref name=":7" />
 <gallery>
+File:Goryeohanbok.jpg|A woman's attire in a Goryeo dynasty painting, from the Water-Moon Avalokiteshvara, 1323 AD.
-File:Water-Moon Avalokiteshvara (detailed view of patrons).jpg|Details of the ''Water-Moon Avalokiteshvara'' painting shows a group of nobles (possibly the donors) dress in court clothing, Goryeo painting.<ref>{{Cite book|url=https://www.worldcat.org/oclc/38831761|title=Arts of Korea|date=1998|publisher=Metropolitan Museum of Art|others=Yang-mo Chŏng, Judith G. Smith, Metropolitan Museum of Art|isbn=0-87099-850-1|location=New York|pages=435-436|oclc=38831761}}</ref>
-File:Goryeohanbok.jpg|A woman's attire in a Goryeo dynasty painting, from the ''Water-Moon Avalokiteshvara'', 1323 AD.
 File:Goryeo lady joban.jpg|Portrait of Lady Jo ban (1341-1401 AD), Goryeo dynasty.
 File:밀양고법리박익벽화묘1.jpg|Mural tomb of Bak Ik in Gobeop-ri, Miryang. Bak Ik was a civil official who lived from 1332-1398 AD.
 File:Korea-National.Treasure-110-Yi.Jehyung-portrait-NMK.jpg|Portrait of Yi Je-hyeon (1287–1367 AD) of the Goryeo dynasty, wearing [[Shenyi|simui]].
 </gallery>Hanbok went through significant changes under Mongol rule. After the [[Goryeo]] dynasty signed a peace treaty with the [[Mongol Empire]] in the 13th century, Mongolian princesses who married into the Korean royal house brought with them Mongolian fashion which began to prevail in both formal and private life.<ref name=":2" /><ref name="Lee, Kyung-Ja, 2003">Lee, Kyung-Ja, 2003</ref><ref name="koreanculture.org">{{cite web|url=http://www.koreanculture.org/06about_korea/symbols/01hanbok.htm |title=Hanbok |publisher=Korean Overseas Information Service}}</ref><ref>{{cite web|url=http://uriculture.com/s_menu.html?menu_mcat=100540&menu_cat=100001&img_num=sub1|archive-url=https://web.archive.org/web/20110717173525/http://uriculture.com/s_menu.html?menu_mcat=100540&menu_cat=100001&img_num=sub1|url-status=dead|archive-date=17 July 2011|title=UriCulture.com|access-date=8 October 2014}}</ref> A total of seven women from the Yuan imperial family were married to the Kings of Goryeo.<ref name=":0" /> The [[Yuan dynasty]] princess followed the Mongol lifestyle who was instructed to not abandon the Yuan traditions in regards to clothings and precedents.<ref name=":2" /> As a consequence, the clothing of Yuan was worn in the Goryeo court and impacted the clothing worn by the upper class families who visited the Goryeo court.<ref name=":2" /> The Yuan clothing culture which influenced the upper classes and in some extent the general public is called ''Mongolpung''.<ref name=":0" /> King Chungryeol, who was political hostage to the [[Yuan dynasty]] and pro-Yuan, married the princess of Yuan announcing a royal edict to change into Mongol clothing.<ref name=":2" /> After the fall of the [[Yuan dynasty]], only Mongol clothing which were beneficial and suitable to Goryeo culture were maintained while the others disappeared.<ref name=":2" /> As a result of the Mongol influence, the ''chima'' skirt was shortened, and ''jeogori'' was hiked up above the waist and tied at the chest with a long, wide ribbon, the ''goruem'' (an extending ribbon tied on the right side) instead of the ''twii'' (i.e. the early sash-like belt) and the sleeves were curved slightly.{{Citation needed|date=May 2021}}
 The cultural exchange was also bilateral and Goryeo had cultural influence on the [[Mongols]] court of the [[Yuan dynasty]] (1279–1368); one example is the influence of Goryeo women's hanbok on the attire of aristocrats, queens, and concubines of the Mongol court which occurred in the capital city, [[Beijing|Dadu]].<ref>Kim, Ki Sun, 2005. v. 5, 81-97.</ref><ref>{{cite web|url=http://news.naver.com/main/read.nhn?mode=LSD&mid=sec&sid1=001&oid=028&aid=0000100944&|title=News.Naver.com|access-date=8 October 2014}}</ref><ref>{{cite web|url=http://www1.chinaculture.org/library/2008-01/28/content_28414.htm|title=ChinaCulture.org|access-date=8 October 2014|url-status=dead|archive-url=https://web.archive.org/web/20141124213026/http://www.chinaculture.org/library/2008-01/28/content_28414.htm|archive-date=24 November 2014}}</ref> However, this influence on the Mongol court clothing mainly occurred in the last years of the Yuan dynasty.<ref>{{Cite book|last=Yang|first=Shaorong|url=https://books.google.com/books?id=nx5JDiacrH4C&q=korea&pg=PA16|title=Traditional Chinese Clothing: Costumes, Adornments & Culture|date=2004|publisher=Long River Press|isbn=978-1-59265-019-4|page=6}}</ref><ref name=":0">{{Cite journal|last1=Kim|first1=Jinyoung|last2=Lee|first2=Jaeyeong|last3=Lee|first3=Jongoh|date=2015|title="GORYEOYANG" AND "MONGOLPUNG" in the 13th-14th CENTURIES|url=https://www.jstor.org/stable/43957480|journal=Acta Orientalia Academiae Scientiarum Hungaricae|volume=68|issue=3|pages=281–292|doi=10.1556/062.2015.68.3.3|jstor=43957480|issn=0001-6446}}</ref> Throughout the Yuan dynasty, many people from Goryeo were forced to move into the Yuan; most of them were ''kongnyo'' (literally translated as "tribute women"), eunuchs, and war prisoners.<ref name=":0" /><ref>{{Cite journal|last=Soh|first=Chung-Hee|date=2004|title=Women's Sexual Labor and State in Korean History|url=http://muse.jhu.edu/content/crossref/journals/journal_of_womens_history/v015/15.4soh.html|journal=Journal of Women's History|volume=15|issue=4|pages=170–177|doi=10.1353/jowh.2004.0022|s2cid=144785547|issn=1527-2036}}</ref> About 2000 women from Goryeo were sent to Yuan as ''kongnyo'' against their will.<ref name=":0" /> Although women from Goryeo were considered very beautiful and good servants, most of them lived in unfortunate situations, marked by hard labour and sexual abuse.<ref name=":0" /> However, this fate was not reserved to all of them; and one Goryeo woman became the last Empress of the [[Yuan dynasty]]; this was [[Empress Gi]] who was elevated as empress in 1365.<ref name=":0" /> Most of the cultural influence that Goryeo exerted on the upper class of the Yuan dynasty occurred when [[Empress Gi]] came into power as empress and started to recruit many Goryeo women as court maids.<ref name=":0" /> The influence of Goryeo on the Mongol court's clothing during the Yuan dynasty was dubbed as ''Goryeoyang'' ("the Goryeo style") and was rhapsodized by the Late Yuan dynasty poet, Zhang Xu, in the form of a short [[banbi]] (半臂) with square collar (方領).<ref name=":0" /><ref name=":10">{{Cite journal|last=Choi|first=Hai-Yaul|date=2007|title=A Study on the Design of Historical Costume for Making Movie & Multimedia -Focused on Rich Women's Costume of Goryeo-Yang and Mongol-Pung in the 13th to 14th Century-|url=http://koreascience.kr/article/JAKO200708508472010.page|journal=Journal of the Korean Society of Costume|volume=57|issue=1|pages=176–186|issn=1229-6880}}</ref> However, so far, the modern interpretation on the appearance of Mongol royal women's clothing influenced by Goryeo is based on authors' suggestions.<ref name=":10" /> Similarly, the possibility that remains of g''oryeoyang'' influence on the [[Ming dynasty]] clothing in China is based on speculations and need to be studied further.<ref>{{Cite book|last=Park|first=Hyunhee|url=https://www.worldcat.org/oclc/1198087560|title=Soju : a global history|date=2021|isbn=978-1-108-89577-4|location=Cambridge|pages=124–125|oclc=1198087560}}</ref>
 ===Joseon dynasty===
@@ Line 144: / Line 144: @@
 During the Joseon dynasty, the chima or skirt adopted fuller volume, while the jeogori or blouse took more tightened and shortened form, features quite distinct from the hanbok of previous centuries, when ''chima'' was rather slim and ''jeogori'' baggy and long, reaching well below waist level. After the [[Japanese invasions of Korea (1592–98)]] or ''Imjin War'', economic hardship on the peninsula may have influenced the closer-fitting styles that use less fabric.<ref name="Chosun Ilbo2">{{cite news|title=Five Centuries of Shrinking Korean Fashions|newspaper=Chosun Ilbo|url=http://english.chosun.com/site/data/html_dir/2006/05/29/2006052961020.html|access-date=2009-06-27}}</ref>
 Early Joseon continued the women's fashion for baggy, loose clothing, such as those seen on the mural from the tomb of Bak Ik (1332–1398).<ref>[http://jikimi.cha.go.kr/english/search_plaza_new/ECulresult_Db_View.jsp?VdkVgwKey=13,04590000,38&queryText=(mural%3Cin%3E%20z_title)%3Cand%3E(V_EYEAR%20%3E=1350)&requery=0 Miryang gobeomni bagik byeokhwamyo (Mural tomb of Bak Ik in Gobeop-ri, Miryang)]. [[Cultural Heritage Administration of Korea|Cultural Heritage Administration]]. Accessed 15 July 2009.</ref>
 In the 15th century, neo-confucianism was very rooted in the social life in the fifteenth and sixteenth centuries which lead to the strict regulation of clothing (including fabric use, colours of fabric, motifs, and ornaments) based on status.<ref>{{Cite book|url=https://books.google.com/books?id=S8bTzilz1BMC&q=Silla+hanbok&pg=PA222|title=The Greenwood encyclopedia of clothing through world history|date=2008|others=Jill Condra|isbn=978-0-313-33662-1|location=Westport, Connecticut|pages=222–223|oclc=156808055}}</ref> Neo-confucianism also influence women's wearing of full-pleated chima, longer jeogori, and multiple layers clothing in order to never reveal skin.<ref name=":11">{{Cite web|title=Dress - Korea|url=https://www.britannica.com/topic/dress-clothing|url-status=live|access-date=2021-03-10|website=Encyclopedia Britannica}}</ref> The 15th century AD ''chima-jeogori'' style was undoubtedly a clothing style introduced from China.<ref name=":11" /> The women of the upper classes, the monarchy and the court wore hanbok which was inspired by the [[Ming dynasty]] clothing while simultaneously maintaining a distinctive Korean-style look; in turn, the women of the lower class generally imitated the upper class women clothing.<ref name=":12">{{Cite book|last=Welters|first=Linda|url=https://www.worldcat.org/oclc/1004424828|title=Fashion history : a global view|date=2018|others=Abby Lillethun|isbn=978-1-4742-5363-5|location=London, UK|oclc=1004424828}}</ref><gallery>
 File:영의정하연부부영정4.jpg|15th century lady
 File:영의정하연부부영정2.jpg|15th century lady
 </gallery>However, by the 16th century, the jeogori had shortened to the waist and appears to have become closer fitting, although not to the extremes of the bell-shaped silhouette of the 18th and 19th centuries.<ref>Keum, Ki-Suk "The Beauty of Korean Traditional Costume" (Seoul: Yeorhwadang, 1994) {{ISBN|89-301-1039-8}} p.43</ref><ref name="Contemporary Artwork of Women2">{{cite web|title=Contemporary Artwork of Korean Women|url=http://medieval-baltic.us/korot2.html|access-date=2009-06-27}}</ref><ref name="Chosun Ilbo2" /> In the 16th century, women's [[jeogori]] was long, wide, and covered the waist.<ref name="저고리2">{{cite web|last1=허윤희|title=조선 여인 저고리 길이 300년간 2/3나 짧아져|url=http://news.chosun.com/site/data/html_dir/2011/06/27/2011062702249.html|access-date=6 September 2019|website=조선닷컴|language=ko}}</ref> The length of women's jeogori gradually shortened: it was approximately 65&nbsp;cm in the 16th century, 55&nbsp;cm in the 17th century, 45&nbsp;cm in the 18th century, and 28&nbsp;cm in the 19th century, with some as short as 14.5&nbsp;cm.<ref name="저고리2" /> A heoritti (허리띠) or jorinmal (졸잇말) was worn to cover the breasts.<ref name="저고리2" /> The trend of wearing a short jeogori with a heoritti was started by the [[gisaeng]] and soon spread to women of the upper class.<ref name="저고리2" /> Women of lower class status were however ambivalent towards skin exposure of breasts.<ref name=":5">{{Cite book|last=Lee|first=Samuel Songhoon|url=https://www.worldcat.org/oclc/944510449|title=Hanbok : Timeless fashion tradition|date=2013|others=Han'guk Kukche Kyoryu Chaedan|isbn=978-1-62412-056-5|location=Seoul, Korea|oclc=944510449}}</ref> Among women of the common and lowborn classes, a practice emerged in which they [[Toplessness|revealed their breasts]] by removing a cloth to make breastfeeding more convenient.<ref>{{cite journal|last1=Han|first1=Hee-sook|date=2004|title=Women's Life during the Chosŏn Dynasty|url=https://ijkh.khistory.org/journal/view.php?number=342|journal=International Journal of Korean History|volume=6|issue=1|page=142|access-date=6 September 2019}}</ref> The ''breast-exposing hanbok'' was worn with pride as a status symbol in order to show off that they had given birth to a son and to feed her child to make other women envious; at those times, giving birth to a son was the greatest pride of a woman due to the excessive preference for male heirs in [[Joseon]].<ref name=":5" />
 In the eighteenth century, the ''jeogori'' became very short to the point that the waistband of the ''chima'' was visible; this style was first seen on female entertainers at the Joseon court.<ref name=":12" /> The ''jeogori'' continued to shorten until it reached the modern times ''jeogori''-length; i.e. just covering the breasts.<ref name=":11" /> During the seventeenth and eighteenth centuries the fullness of the skirt was concentrated around the hips, thus forming a silhouette similar to Western bustles. The fullness of the skirt reached its extreme around 1800. During the 19th century fullness of the skirt was achieved around the knees and ankles thus giving ''chima'' a triangular or an A-shaped silhouette, which is still the preferred style to this day. Many [[Sokgot|undergarments]] such as ''darisokgot,'' ''soksokgot,'' ''dansokgot'', and ''gojengi'' were worn underneath to achieve desired forms.
@@ Line 166: / Line 166: @@
 In contrast, men's lengthy outwear, the equivalent of the modern overcoat, underwent a dramatic change. Before the late 19th century, ''yangban'' men almost always wore ''jungchimak'' when traveling. ''Jungchimak'' had very lengthy sleeves, and its lower part had splits on both sides and occasionally on the back so as to create a fluttering effect in motion. To some this was fashionable, but to others, namely stoic scholars, it was nothing but pure vanity. Daewon-gun successfully banned ''jungchimak'' as a part of his clothes reformation program and ''jungchimak'' eventually disappeared.
 ''[[Durumagi]]'', which was previously worn underneath ''jungchimak'' and was basically a house dress, replaced ''jungchimak'' as the formal outwear for ''yangban'' men. ''Durumagi'' differs from its predecessor in that it has tighter sleeves and does not have splits on either sides or back. It is also slightly shorter in length. Men's hanbok has remained relatively the same since the adoption of ''durumagi''. In 1884, the Gapsin Dress Reform took place.<ref name=":13">{{Cite book|last1=Pyun|first1=Kyunghee|url=https://books.google.com/books?id=ivZ0DwAAQBAJ&q=myeonbok&pg=PA55|title=Fashion, identity, and power in modern Asia|last2=Wong|first2=Aida Yuen|date=2018|publisher=Springer|isbn=978-3-319-97199-5|location=Cham, Switzerland|oclc=1059514121}}</ref> Under the 1884's decree of [[Gojong of Korea|King Gojong]], only narrow-sleeves traditional overcoat were permitted; as such, all Koreans, regardless of their social class, their age and their gender started to wear the [[durumagi]] or ''chaksuui'' or ''ju-ui'' (周衣).<ref name=":8" /><ref name=":13" />
 Hats was an essential part formal dress and the development of official hats became even more pronounced during this era due to the emphasis of Confucian values.<ref name=":6">{{Cite book|last=Ch'oe|first=Ŭn-su|url=https://www.worldcat.org/oclc/846696816|title=Gat : traditional headgear in Korea|date=2012|others=Hyŏng-bak Pak, Eunhee Hwang, Kungnip Munhwajae Yŏn'guso|isbn=978-89-6325-987-1|location=Daejeon, Korea|oclc=846696816}}</ref> The [[Gat (hat)|gat]] was considered an essential aspect in a man's life; however, to replace the gat in more informal setting, such as their residences, and to feel more comfortable, Joseon-era aristocrats also adopted a lot hats which were introduced from China, such as the banggwan, sabanggwan, dongpagwan, waryonggwan, jeongjagwan.<ref name=":6" /> The popularity of those Chinese hats may have partially been due to the promulgation of Confucianism and because they were used by literary figures and scholars in China.<ref name=":6" /> In 1895, King Gojong decreed adult Korean men to cut their hair short and western-style clothing were allowed and adopted.<ref name=":13" /><gallery>
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 Before the 19th century, women of high social backgrounds and ''[[gisaeng]]'' wore wigs (''[[gache]]''). Like their Western counterparts, Koreans considered bigger and heavier wigs to be more desirable and aesthetic. Such was the women's frenzy for the ''gache'' that in 1788 [[Jeongjo of Joseon|King Jeongjo]] banned by royal decree the use of ''gache'', as they were deemed contrary to the [[Korean Confucianism|Korean Confucian]] values of reserve and restraint.<ref>{{Cite web|title=The Traditional Art of Beauty and Perfume in Ancient Korea {Cultural Notes} {Beauty Notes} - The Scented Salamander: Perfume & Beauty Blog & Webzine|url=http://www.mimifroufrou.com/scentedsalamander/2008/04/beauty_perfume_in_traditional.html|website=www.mimifroufrou.com}}</ref>
 Due to the influence of Neo-Confucianism, it was compulsory for women throughout the entire society to wear headdresses (''nae-oe-seugae'') to avoid exposing their faces when going outside; those headdresses may include ''suegaechima'' (a headdress which looked like a ''chima'' but was narrower and shorter in style worn by the upper class women and later by all classes of people in late Joseon), the [[jang-ot]], and the ''neoul'' (which was only permitted for court ladies and noblewomen).<ref>{{Cite journal|last=Cho|first=Seunghye|date=2017-09-03|title=The Ideology of Korean Women's Headdresses during the Chosŏn Dynasty|url=https://doi.org/10.1080/1362704X.2016.1251089|journal=Fashion Theory|volume=21|issue=5|pages=553–571|doi=10.1080/1362704X.2016.1251089|s2cid=165117375|issn=1362-704X}}</ref>
 In the 19th century ''yangban'' women began to wear ''jokduri'', a small hat that replaced ''gache''. However ''gache'' enjoyed vast popularity in ''kisaeng'' circles well into the end of the century.
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 <!-- [[File:Wonsam.jpg|thumb|left|[[Wonsam]], 원삼]] -->
 '''''[[Wonsam]]''''' (Hangul: 원삼) was a ceremonial overcoat for a married woman in the [[Joseon]] dynasty.<ref name= "Cho Eun-ah's Hanbok Story(25)">Cho, Eun-ah, [http://cnews041.com/sub_read.html?uid=46289&section=sc151 "Cho Eun-ah's Hanbok Story(25)"], "C News041", 2012/11/12</ref> The [[Wonsam]] was also adopted from [[China]] and is believed to have been one of the costumes from the [[Tang dynasty]] which was bestowed in the Unified Three Kingdoms period.<ref name=":1"/> It was mostly worn by royalty, high-ranking court ladies, and noblewomen and the colors and patterns represented the various elements of the Korean class system.<ref name="Cho Eun-ah's Hanbok Story(25)" />  The empress wore yellow; the queen wore red; the crown princess wore a purple-red color; meanwhile a princess, a king's daughter by a [[concubine]], and a woman of a noble family or lower wore green.<ref name="Cho Eun-ah's Hanbok Story(25)" />  All the upper social ranks usually had two colored stripes in each sleeve: yellow-colored Wonsam usually had red and blue colored stripes, red-colored Wonsam had blue and yellow stripes, and green-colored Wonsam had red and yellow stripes.<ref name="Cho Eun-ah's Hanbok Story(25)" />  Lower-class women wore many accompanying colored stripes and ribbons, but all women usually completed their outfit with '''Onhye''' or '''Danghye''', traditional Korean shoes.<ref name="Cho Eun-ah's Hanbok Story(25)" />
 ====Dangui====
@@ Line 250: / Line 251: @@
 ====Cheolique====
-'''''[[Terlig|Cheolique]]''''' (Alt. Cheolick or Cheollik) (Hangul: 철릭) was a Korean adaptation of the [[Terlig|Mongol tunic]], imported in the late 1200s during the [[Goryeo dynasty]]. Cheolique, unlike other forms of Korean clothing, is an amalgamation of a blouse with a kilt into a single item of clothing. The flexibility of the clothing allowed easy horsemanship and archery.  During the [[Joseon dynasty]], they continued to be worn by the king, and military officials for such activities.<ref name="Cheolique">Encyclopedia of Korean Culture and The Academy of Korean Studies, [http://terms.naver.com/entry.nhn?cid=1646&docId=563301&categoryId=1646 "Cheolique"], "Naver Knowledge Encyclopedia"</ref>  It was usually worn as a military uniform, but by the end of the Joseon dynasty, it had begun to be worn in more casual situations.<ref name="Cheolique">Encyclopedia of Korean Culture and The Academy of Korean Studies, [http://terms.naver.com/entry.nhn?cid=1646&docId=563301&categoryId=1646 "Cheolique"], "Naver Knowledge Encyclopedia"</ref>  A unique characteristic allowed the detachment of the Cheolique's sleeves which could be used as a bandage if the wearer was injured in combat.<ref name="Cheolique" />
+'''''[[Terlig|Cheolique]]''''' (Alt. Cheolick or Cheollik) (Hangul: 철릭) was a Korean adaptation of the [[Terlig|Mongol tunic]], imported in the late 1200s during the [[Goryeo dynasty]]. Cheolique, unlike other forms of Korean clothing, is an amalgamation of a blouse with a kilt into a single item of clothing. The flexibility of the clothing allowed easy horsemanship and archery.  During the [[Joseon dynasty]], they continued to be worn by the king, and military officials for such activities.<ref name="Cheolique">Encyclopedia of Korean Culture and The Academy of Korean Studies, [http://terms.naver.com/entry.nhn?cid=1646&docId=563301&categoryId=1646 "Cheolique"], "Naver Knowledge Encyclopedia"</ref>  It was usually worn as a military uniform, but by the end of the Joseon dynasty, it had begun to be worn in more casual situations.<ref name="Cheolique"/>  A unique characteristic allowed the detachment of the Cheolique's sleeves which could be used as a bandage if the wearer was injured in combat.<ref name="Cheolique" />
 <!-- [[File:Blue Cheolique.jpg|thumb|left|Blue Cheolique for military officials in [[Joseon]] Dynasty]] -->
@@ Line 272: / Line 273: @@
 <!-- [[File:Norigae.jpg|thumb|right|[[Norigae]], 노리개]] -->
-'''''[[Norigae]]''''' (Hangul: 노리개) was a typical traditional accessory for women; it was worn by all women regardless of social ranks.<ref name="Norigae">Doopedia, [http://terms.naver.com/entry.nhn?cid=200000000&docId=1076917&categoryId=200000392 "Norigae"], "Naver Knowledge Encyclopedia"</ref><ref name=":14">{{Cite book|last=Yi|first=Kyŏng-ja|url=https://www.worldcat.org/oclc/71358055|title=Norigae : splendor of the Korean Costume|date=2005|publisher=Ewha Womans University Press|others=Lee Jean Young|isbn=89-7300-618-5|location=Seoul, Korea|pages=12-13|oclc=71358055}}</ref> However, the social rank of the wearer determined the different sizes and materials of the norigae.<ref name=":14" />
+'''''[[Norigae]]''''' (Hangul: 노리개) was a typical traditional accessory for women; it was worn by all women regardless of social ranks.<ref name="Norigae">Doopedia, [http://terms.naver.com/entry.nhn?cid=200000000&docId=1076917&categoryId=200000392 "Norigae"], "Naver Knowledge Encyclopedia"</ref><ref name=":14">{{Cite book|last=Yi|first=Kyŏng-ja|url=https://www.worldcat.org/oclc/71358055|title=Norigae : splendor of the Korean Costume|date=2005|publisher=Ewha Womans University Press|others=Lee Jean Young|isbn=89-7300-618-5|location=Seoul, Korea|pages=12–13|oclc=71358055}}</ref> However, the social rank of the wearer determined the different sizes and materials of the norigae.<ref name=":14" />
 ====Danghye====
@@ Line 295: / Line 296: @@
 In Seoul, a tourist's wearing of hanbok makes their visit to the Five Grand Palaces (Changdeokgung, Changgyeonggung, Deoksugung, Gyeongbokgung and Gyeonghuigung) free of charge.
+==Recent history==
+=== Controversy over distortion of hanbok in China ===
+The controversy over distortion of hanbok in China is a series of moves in China to incorporate Korean traditional clothing, hanbok, into 'Chinese culture, traditional Chinese clothing' and to give it a Chinese identity. It is a kind of attempt by China to subjugate Korean culture.
+Controversy over distortion of hanbok in China has existed since the time of China’s Northeast Asia Project<ref>{{cite web|url=http://korea.prkorea.com/wordpress/english/2012/03/15/dispute-over-history-chinas-northeast-asia-project |script-title=Dispute over history: China’s Northeast Asia Project  |publisher=[[VANK]]}}</ref>. Since the 2000s, hanbok has appeared in various Chinese cultural media, including Chinese dramas, and was introduced as a type of hanfu. As a result, disputes began to arise between China and Korea.
+In early November 2020, the Chinese mobile game 'Shining Nikki' changed the hanbok costume that was promoted as a Korean traditional costume to a Chinese traditional costume due to a Chinese user's protest. As Korean users protested, 'Shining Nikki' announced the abrupt termination of the Korean service.<ref>{{Cite web|url=https://game.mk.co.kr/view.php?year=2020&no=1140729/|title="한복 동북공정 논란 ‘샤이닝니키’ 1주일만에 서비스 종료"…환불 절차 안내 없어 또 ‘논란’|trans-title="Shining Nikki's service ended after 1 week of controversy over the Hanbok Northeast Project" No refund procedure, another ‘controversy’ |publisher=Maeil Business Newspaper|date=November 6, 2020|language=ko}}</ref> Through this 'Shining Nikki' Hanbok incident, the controversy about the distortion of Hanbok and Hanfu in China directly occurred in Korea. Koreans began to perceive China's Northeast Project for Hanbok as a serious problem, calling it the 'Hanbok Northeast Project'.
 ==See also==
@@ Line 318: / Line 328: @@
 ==External links==
+*{{Commons category-inline}}
-*{{Commonscatinline}}
 * [https://thekoreaninme.com/blogs/hanbok-philosophy/hanbok-history-evolution Hanbok History Evolution]
 * [https://thekoreaninme.com/blogs/hanbok-philosophy/hanbok-history-infographic Hanbok History Infographic]

v t e National symbols of North Korea
Constitutional	Flag Emblem Anthem Pyongyang (capital)
Other	Magnolia sieboldii (flower) Northern goshawk (bird) Pine (tree) Pungsan (dog) Kimchi (dish) Choson-ot (dress) Ssirum (sport) Juche Tower and Mangyongdae (monuments) Juche calendar Foundation Day Cho Ki-chon (poet) Chollima Korean language Munhwaŏ North Korean won (currency)