Sino-Korean term derived from the terms guanfu (Chinese: 冠服; lit. Korean: 관복; Hanja: 冠服; RR: gwanbok; lit. Chinese: 官服; pinyin: guānfú; lit. The guanfu (冠服) system was a court attire system in China which also formed part of the Hanfu (simplified Chinese: 汉服; traditional Chinese: 漢服; pinyin: Hànfú; lit. This system was them spread to neighbouring countries and was adopted in Korea since ancient times in different periods through the ritual practice of bestowal of clothing. Chinese courts of various dynasties. Acknowledgement through bestowed robes and crowns (冠服) from the Emperor of China, who held hegemony over East Asia, would give support to Korean Kings and successors, as being the authentic rulers of their country as well as confirmed the political status of the Korean kingdom in the rest of the Sinosphere. For example, initially given by the Chinese court in ritual practice, successive gwanbok were more often than not locally manufactured in Korea with different colours and adopted into hanbok. The gwanbok system in Korea was different for each kingdom and changed throughout different periods. They favoured luxurious clothes like purple clothing for the top ranks and had decorative golden metal crowns and pointy hats called adorned with metal accessories and feathers. Before adopting foreign systems, Korea had its own gwanbok system based on indigenous hanbok, mostly rooted in indigenous ranking systems and state religion like Mu-ism. Silla and the other three kingdoms of Korea each had a version of the Bone-rank system where each social rank were allowed only certain clothes and certain ranks in court. The rulers and the upper class in Korea’s history adopted different kinds of foreign-influenced clothing in each dynasty, mostly from China’s Tang, Song, Yuan, and Ming dynasties, while the commoners were generally less influenced by these foreign trends and their indigenous aesthetic continued to be seen in their clothing. Despite wearing foreign-influenced clothing, the rulers and the upper class still wore clothing that were indigenous outside of court. Under the dominance of the Han dynasty, Goguryeo and the little states (Hanja: 小國) were bestowed attires and other miscellaneous items from the Han dynasty court. In Korea, whenever a new dynasty was established, the Korean ruler and his court would be bestowed official clothing from the Chinese emperor. This ritual of the Chinese Emperor bestowing official attire also included the official attire of the Korean Kings in the Goryeo and Joseon dynasties known as the Gonryongpo. Proto-Koreanic entities were in constant conflict with these states until Goguryeo eventually ousted the Chinese from those regions by the early 4th century CE. After Gojoseon of Liaodong was defeated by the Han dynasty of China, four Chinese commanderies known as the Han-Sagoon were established in the region in 108 BCE. Nakrang Commandery which continued to exist until the early fourth century CE and transmitted Han dynasty culture and lifestyle to the regions, including the Korean peninsula. A long type of po was introduced to Goguryeo and originated from the long paofu which was worn by the Han Chinese in court. Even after the ousting, Goguryeo court attire shows influences of the guanfu system. Another form of robe was the mid-calf po, which originated from the Northern Chinese, and was used to fend against cold weather; this form of robe was adopted by the Goguryeo upper class for various ceremonies and rituals. This court po was eventually modified and became the durumagi with no vents. The court po was used for ceremonies and rituals, as well as in the royal attire goguryeo called the ochaebok. 한국 민족의 고유복식은 저고리와 바지, 두루마기로 돼 있다. The traditional clothing of the Korean people consists of a jeogori, baji, and a durumagi. This kind of attire is related to the northern hobok, and wearing pants means that they were a horse-riding people. 이런 복식은 북방 호복(胡服)계열로 바지를 착용했다는 것은 기마민족(騎馬民族)이었음을 의미한다는 것이다. The Han dynasty influences can also be observed in the tomb murals of Goguryeo which were primarily painted in two regions: Ji’an (集安) and Pyeongyang, which are the second and third capitals of Goguryeo from the middle of the 4th to the middle of the 7th centuries respectively. 15 The Goguryeo murals dating from this period in the region of Ji’an typically shows the characteristics of the people of Goguryeo in terms of morals and customs while those found in the regions of Pyeongyang would typically show the cultural influence of the Han dynasty, including figures dressed in Chinese-style attire, as the Han dynasty had governed this geographical region for approximately 400 years. Male tomb owner wearing an ancient Chinese paofu, Anak Tomb No.3, Goguryeo, c. The Goguryeo mural paintings found near Pyeongyang, such as the Anak Tomb No. 3 of Goguryeo dated 357 AD located near Pyeongyang, shows also strong influences of the Eastern Han dynasty which appears to have continued lingering in the regions of Manchuria during the third and early fourth centuries CE. Wife of tomb owner wearing the Chinese zaju chuishao fu, Anak Tomb No.3, Goguryeo, c. The subjects and characteristics found on the murals are derived from the murals found in the Eastern Han dynasty tombs of China. The tomb owner is depicted as an idealized official of the Eastern Han dynasty being seated in frontal position wearing a Chinese paofu; the closest prototype of this mural painting can be found in the mural from the Yuantaizi Tomb in Chaoyang country, Liaoning, dating from the 4th century CE. The painting of the wife of the tomb owner wears a multi-layered Chinese attire, known as the zaju chuishao fu (Chinese: 杂裾垂髾服), and may indicate the Chinese clothing-style of the Six dynasties period. Traces of influences from the Han dynasty continued to appear in the early 5th century Goguryeo tomb murals located in the Pyeongyang areas, such as those from the Gamsinchong (龕神塚) where the ancient durumagi worn by the owner of Gamsinchong tomb was red (or purple) in colour and had wide sleeves. The Anak Tomb No. 3 also exerted strong influences on the subsequent development of iconography, structure, and tomb mural painting techniques found in the Goguryeo tombs. 16 It is also worn with a waist belt similarly to the native Korean durumagi-po-style. He wears a dark silk hat that shows his high societal position. National Museum of Korea, Quarterly Magazine Vol. 16 Moreover, Goguryeo, influenced by the Chinese, also developed the ritual of bestowing attire to smaller entities, such as Silla, which in turn did so to other smaller entities. This figure is sitting on a flat bench under a red curtain, in a purple durumagi (a traditional Korean men’s overcoat) with both hands held inside the wide sleeves on his chest. Please help improve this section by adding citations to reliable sources. This section does not cite any sources. Unsourced material may be challenged and removed. The influence of Goguryeo can be seen in Silla court clothing, which included a similar decorative apron with triangles but under their jeogori (top) in a more indigenous fashion. Southern parts of the Korean Peninsula had less influence from mainland political entities. The official guanfu system of the Tang dynasty was brought into Korea in 647 AD by Kim Chunchu who travelled to the Tang to request clothing and belts. In Balhae, the official attire of civil and military officials were issued by the state. Baekje had formed its own gwanbok system with influences from Silla that in turn influenced the Japanese court attire of the Yayoi and Kofun periods. During King Mun’s reign, Balhae started to integrate Tang dynasty elements, such as the bokdu and danryeong into its official attire. The official court attire in Balhae varied in colour based on the rank of the official; the colours worn were purple, red, light red, and green. In Goryeo, the gwanbok was typically influenced by the Tang and Song dynasty. Early Goryeo operated with the Emperor at home, king abroad system. However, due to the instability among mainland political entities, early Goryeo period had no official bestowing of gwanbok by an emperor. They used the emperor’s attire instead of a king. For the Myeonbok, they used the 12 stringed Myeongryugwan instead of 9 and performed rituals reserved for the emperor. The danryeong, which was introduced during the United Silla period, continued to be worn as the outerwear of Goryeo officials and became part of the kingdom’s official attire. Wearing everyday clothing under gwanbok had already become a tradition since the Unified Silla period. However, the government officials continued to wear their daily-life clothing, such as a jeogori and baji (trousers) under their gwanbok work clothing. The royalty and aristocrats of Goryeo also wore danryeong and gwanmo that typically followed mainland Song dynasty official attire; this can be observed in Buddhist paintings of the Goryeo era. 192 In 11th century, Goryeo was bestowed with the nine-stringed myeonryugwan and myeonbok and also received official attire from the Khitan Liao and Jurchen Jin dynasties as a sign that both were superior states to Goryeo. This ritual of bestowing attire to recognize a superior was broken during the Mongol Yuan dynasty. After Goryeo was subjugated by the Yuan dynasty of China, the Goryeo kings, royal court, and government had several titles and privileges downgraded to the point that they were no more the equals of the Yuan emperors. 123-124 At that time, they had to wear a purple goryongpo instead of a yellow one. 123-124 During the Mongol Yuan and late Goryeo period, Goryeo received Mongolian formal attire such as jilson as a sign of trust and Anda. Goryeo kings at that time sometimes wore Mongol attire instead; several Mongol clothing elements were adopted in the attire of Goryeo. 565 as such they were forbidden from wearing the yellow goryongpo (dragon robes) as it was reserved for the Yuan emperors. 123-124 Goryeo clothing-style customs also became popular at the end of the Yuan dynasty among Mongol rulers, aristocrats, queens and imperial concubines in the capital city under the influence of Empress Gi (a former Kongnyo and last empress of the Yuan dynasty, lit. The fashion trend was dubbed goryeoyang (Chinese: 高麗樣; pinyin: gāolíyàng; lit. 1365, a few years before the Yuan dynasty ended in 1368, and when she started to recruit many Goryeo women as court maids. Chinese poetry from the Yuan dynasty and was described as being a banryeong banbi (Chinese: 方領半臂; pinyin: fānglǐng bànbì; lit. 2005 study by senior researcher Choi based on the description provided by the same poem. In an attempt to restore new cultural norms which they perceived as being non-contaminated by the Mongol cultural influences, King Gongming and King U of Goryeo tried to establish amicable diplomatic relationship with the Ming dynasty and voluntarily requested to be bestowed clothing from the Ming dynasty, which included their royal attire (e.g. the goryongpo) and thus recognized the superiority of the Ming dynasty. The ritual bestowal of Gwanbok only resumed in late Goryeo. 116 During the coup d’etat of Yi Seong-gye, Joseon had created its own gwanbok style, such as the blue gonryongpo, a color representing the east. However, since the establishment of the Joseon dynasty, the Joseon court developed stronger ties with Ming China and followed the Confucian dress system which became outlined in the Gyeongguk daejeon《경국대전; 經國大典; lit. The Gwanbok system of Joseon continued the one used from the late Goryeo period and based itself on an early Ming dynasty court attire. The Great Compendium of the State Laws of Joseon》, a legal system which established Joseon as a vassal state and recognized China as the Suzerain. 48 As such to reinforce this strict hierarchical system, the Joseon Gwanbok system had to two ranks below that of China as Joseon was a vassal state while China was the suzerain. Joseon dynasty equating Sinicization, junghwa (Korean: 중화; Hanja: 中華; lit. 48 But among other countries in the Sinosphere, Joseon was ranked second after Imperial China according to the concept of minor Sinocentrism, known as So-junghwa sasang (Korean: 소중화사상; Hanja: 小中華思想; lit. 116 This belief was reflected in the Joseon gwanbok, which continued to show the Ming dynasty-based clothing design. Moreover, the animosity caused by the Later Jin invasion fuelled this notion which continued due to the Qing invasion of Joseon. 116 It was also the pride of Joseon to preserve Confucian culture and visually manifest it through the traditional dress system of the Ming dynasty. Joseon continued to use the Ming dynasty-based gwanbok rather than receiving the Manchu-style guanfu, which they considered as being hobok and ironically barbaric. In the later half of the Joseon dynasty, as new gwanbok could not be requested from the fallen Ming, it was instead manufactured in Korea which leads to its localization, such as the uniquely Korean U-shaped collar found in the danryeong, which can also be seen in later forms of wonsam. 116 Emperor Gojong wore the goryongpo and had changed the original colour of his red goryongpo to yellow, which was the same colour reserved to the Emperor of China. Only Emperor Gojong and Emperor Sunjong were able to wear the yellow goryongpo. 56 He also upgraded his jobok to that of the Chinese Emperor’s by including the tongtianguan (통천관; 通天冠; tongcheongwan) with twelves liang (Chinese: 梁; pinyin: liáng; lit. Emperor, thus, replacing his yuanyouguan (원유관; 遠遊冠; wonyugwan) which was worn by the feudal kings. 57,65 He also included the jiangshapao (강사포; 絳紗袍; gangsapo) in his jobok. The wedding gwanbok was usually deep blue or violet in colour. The commoner men were only allowed to wear gwanbok (관복; 官服) on the day of their wedding. However, the term gwanbok (관복; 官服) used in a narrow scope only denote the gongbok and the sangbok, which typically refers to the danryeong-style attire, worn by the court officials. There were several types of gwanbok (관복; 冠服) according to status, rank, and occasion, such as jobok, jebok, sangbok, gongbok, yungbok, and gunbok. The gongbok (공복; 公服; lit. The jebok (제복; 祭服; lit. 48 was worn when officers had an audience with the king at the palace. 55-58 It was worn by civil and military officials when the King would hold memorial services at the Royal Ancestral Shrine where he would perform ancestor veneration ritual, called jesa. 55-58 The joogdan (inner garment) was made of white silk, the white neck band of the inner robe was visible under the jebok. 55-58 A red apron was worn between the jebok and the joogdan. The robe was a danryeong with large-sleeves which was made of black silk gauze; it was worn with a jegwan (mourning cap), a red skirt, a dae (girdle), a bangshim-gokryeong (a ritual token which was attached to the round collar), a husu (a black apron with embroidery and tassels), leggings, Korean cotton socks, and low-sided shoes called hye. Right: Korean Jeokdui, modified from the Chinese diyi, Korean Empire. The jeogui (적의; 翟衣), also called referred as gwanbok, myeongbok, and yebok (예복; 禮服; lit. Left: Chinese Diyi of the Ming dynasty. 130 However, the early Joseon jeogui was different from the one developed and worn in the late Joseon and during the Korean empire. In the early Joseon, the Ming dynasty bestowed the daehong daesam, a plain red ceremonial robe along with chiljeokgwan, a guan with seven pheasants, to the Joseon queen which was then worn as a ceremonial attire. During the Korean empire, the jeogui was modified again and became blue in colour for the Korean queen which was now proclaimed empress; this blue jeogui also expressed the proclamation of Korea as an independent nation. In the late Joseon, the jeogui system of Joseon was developed and was modified such that pheasant heads would appear on the back of the daesam along and also added a rank badge to the jeogui. Left: Pien Fu of the Ming dynasty. Middle: Geumgwan Jobok in the late 18th century. It was also the official court attire for the high-ranking military and civil officials; they wore it when they would meet with the King and was worn for important ceremonies. The jobok (조복; 朝服; lit. The jobok consisted of a wide-sleeved, red silk gauze robe which was worn over a blue inner robe; a red apron was worn in the front of back. 53-55 Examples of special occasions were the national festivals, or announcement of royal decrees. 53-55 To indicate the rank of the officials, officials wore geumgwan; the geumgwan had gold stripes which would mark its wearer’s rank. 53-55 On the back, there was a husu, i.e. a rectangular-shaped embroidered insignia. 65 he also wore the jiangshapao (강사포; 絳紗袍; gangsapo), a red robe which was worn by the Emperor and the feudal kings. During the Korean Empire period, when Emperor Gojong wore the jobok as his attire for imperial audience, he decided to upgrade his jobok to that of the Chinese Emperor’s by including the tongtianguan (통천관; 通天冠; tongcheongwan) with twelves liang (Chinese: 梁; pinyin: liáng; lit. Chinese Emperor, which consisted of a mianguan (면류관; 冕旒冠; myeollyugwan) with twelve beaded strings (면류; 冕旒; myeollyu) and was worn together with the gunfu (곤복; 袞服; gongbok) which was decorated with Twelve Ornaments. The mianfu (면복; 冕服; myeonbok; lit. 56 The mianfu was introduced in Korea from China where it became known as myeonbok. The myeonbok was used a ceremonial attire by the Joseon kings, kings, crown prince, and crown grandson from the Goryeo period through the Joseon period. Left: Chinese mianfu of the Ming dynasty. The Korean myeonbok differed from the mianfu worn by the Chinese Emperor as the King of Joseon were feudal kings. 56 The mianfu was the attire which projected the authority of the Chinese Emperor in the Sinosphere. As feudals kings, the Kings of Joseon were not allowed to use the twelve beaded strings instead they had to use nine beaded strings. The nine ornaments on the gujangbok were either painted or embroidered and they represented the virtue and authority of the King; the crown prince of Joseon on the other hand were only allowed seven out of the twelve ornaments. The myeonbok of Joseon was thus was made up of eleven different pieces of garment and apparels, which included the gui (Hanja: 圭; a jade tablet), the mianguan (면류관; 冕旒冠; myeollyugwan), the ui (Hanja: 衣; Chinese: 衣; pinyin: yī; lit. 56 Moreover, they were supposed to wear a robe in their myeonbok which was decorated with nine out of the Twelve Ornaments and thus their this robe was referred gujangbok (Hanja: 九章服). There were also instances when Korean kings wore the mianfu reserved for the Emperor. During the years of the Yuan invasion of Goryeo, King Gongmin was recorded to have temporarily worn the myeonbok of an emperor with the Twelve Ornaments and wore the mianguan with twelve beads. Hanja: 大帶; Chinese: 大帶; pinyin: dàdài; lit. However after the establishment of the Ming dynasty, King Gongmin restarted wearing the myeonbok of a feudal king. When Emperor Gojong declared himself emperor of Korea when he appropriated the ancient Chinese dress system and wore a myeonbok, which emulated the mianfu with Twelve ornaments and the twelve-beaded string mianguan of the Chinese emperor. 56 The Joseon myeonbok was thus localized and developed into its current form through time. The sangbok (상복; 常服; lit. 48 was worn as a daily official clothing. Until 1897, King Yeonjo’s guidelines concerning the Joseon myeonbok system remained in effect; some changes were later on implemented with the proclaiming of the Korean Empire. The yungbok was related to military affairs. Gwanbok in the Goryeo period, 11th century. Gwanbok in the Goryeo period, 14th century. The Journal for the Studies of Korean History. 72. The Society for the Studies of Korean History: 251-296. ISSN 1229-6252 – via DSPACE Repository. 1213)의 국왕 책봉(冊封)과 관복(冠服) 사여. 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Encyclopedia of Traditional Korean clothing. Hee-kyung, Yoo (22 March 2023). “조복(朝服)”. Seoul: National Folk Museum of Korea. National Museum of Korea. Academy of Korean Studies. Wikimedia Commons has media related to Gwanbok. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. This page was last edited on 15 October 2024, at 14:47 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.