A gisaeng that originated from the Three Kingdoms period.

 The female Gisaeng system in Korea dates back to Goguryeo. It seems that the gisaeng system was established as the government office was placed in the nationwide government offices as the bureaucratic system was established, starting from the women of the Goguryeo period.   However, it is presumed that there were women with the same occupation as female Gisaengs during and before the Three Kingdoms Period. Such sprouts can also be seen in love stories such as the bubble of Kim Yu-shin and the female Gisaeng Cheon Gwan-nyeo in the Samguk Sagi or the Wonhwa Islands seen in the early Jinheung Dynasty of Silla. In addition, there is a legend that there was a Confucian scholar named "Flower Jengchwi" in Baekje. In this way, the history of Korean female Gisaengs can be traced back to a thousand years ago.   In particular, the women of Goguryeo appear to have degenerated into women of conquered villages in the process of Goguryeo conquering various other tribes. However, it can be seen that the female shaman and the female shaman as government officials are different. It was from the Goryeo Dynasty when centralization was established that Confucian scholars became government officials.    During the Goryeo Dynasty, travel expenses were trained to make Gyobang, and various instruments were played by appearing in female music of government offices. However, in addition to such institutionalized gisaengs, it seems that there were also people who continued Goguryeo's women's group. In other words, during the Goryeo Dynasty, the names Gisaeng and Gisaeng were mixed, and the words Changgi and Changnyeo stood out, indicating that various types of gisaengs already existed.      Even in the Joseon Dynasty, the women's group continued to exist in addition to female Gisaengs, and the theory of women's interest emerged. However, in principle, the female Gisaeng of the Joseon Dynasty was referring only to government officials. Gisaeng was originally a term referring to a woman who learned the art of dance and served when needed by the country. Therefore, it belonged to the government office systematically and belonged to heaven in terms of status. The official flag was also divided into Gyeonggi and local flag, and among the local flag, it was selected as a game if it was excellent in purple and talented.    During the game, there was a righteous woman belonging to Hye Min-seo, a member of the Naeui Clinic, and there was a Chim Seon-bi at the Gongjo Chamber. In other words, as the internal and external laws became stricter and even the diseases of women became invisible to male doctors, it was the female Gisaeng who took over the task as a righteous woman, and Chim Seon-bi was the female Gisaeng who built the clothes of the king and queen. However, they were also called Yakbang Gisaeng, Sangbang Gisaeng, or Seonsanggi because they served as entertainment for men in addition to these tasks.    The righteous women were mainly engaged in the medical treatment of Bibin and Nine in the court, and they came to Yeonsanjo to teach Yeonak and Gamu to attend condensed milk along with general government equipment. Later, they tried to ban the attendance of condensed milk for women, but it was not implemented well, so they performed medical treatment and family affairs until the end of the Joseon Dynasty. In addition, in Saga, until the middle of the Joseon Dynasty, there were Seongbi and Gabi, called Changgabi. In other words, it is a case of teaching and raising singing and dancing directly in a private house, or collecting government flags to make a gender ratio and treating it below a memorial tablet.    The female Gisaengs were generally young and beautiful, and they were allowed to be accessed by men even in the face of strict Confucian order, so they served as an excuse to boost the excitement of men's feasts and comfort men.   The status of the female Gisaeng was inherited as a slave subordinated to the government office, and once she reached the miracle, she could not escape for the rest of her life unless her daughter or nephew was brought into the gisaeng instead or was deceived.   The female Gisaeng ranged from 15 to 50, and the young Gisaeng was called Donggi and the older Gisaeng was called Nogi. When he becomes 15 years old and reaches the Gisaengs' Department, he begins to learn the melody in Gyobang and walks on his path as a gisaengs. After a certain period of instruction, they were severely sanctioned by Haengsu Gisaeng, and Gisaeng Anbae was mainly handled by Hojang. As we often see in classical plays, the relationship between Ajeon and Gisaeng was inseparable.   In a male-centered Joseon society dominated by Confucian ethics, gisaengs captured their hearts by comforting men called gisaengs, and sometimes they were blinded by moral soldiers to complete their own culture. Beyond the status of a gisaeng, Nongae or Dalhyang, Hwangjin with excellent knowledge and beauty, and Hongrang and Manhyang, who escaped miracles due to their excellent knowledge or filial piety, suggest that the sound of female gisaengs during the Joseon Dynasty had a significant impact on society.    Among them, it is very interesting to examine the effect of the costumes of female Gisaengs on the costumes of ordinary women in Joseon society.   In a strict society of status, doubles was naturally a reflection of status and status. Therefore, the luxury rule was very difficult not only for the general public but also for the aristocrats. In addition, everything from fabric, type of clothes, color, pattern, and accessories was strictly controlled and restricted depending on the status. However, under rigid Confucian ethics, only female Gisaengs who were the object of pleasing men's eyes were allowed with unusually many exceptions, enjoying very luxurious and noisy attire.    Looking at the costumes of female Gisaengs through old literature and customs paintings, the early and mid-term data are poor, but the data shown in the later customs shows that the structure is basically the same as that of the common people.   Nevertheless, the reason why gisaengs look exceptionally luxurious can be found in the texture, color, and jewelry of the clothes.   First of all, according to the Annals of King Taejong and the Annals of King Sejong, all female Gisaengs were allowed to perform Neungnabidan, even if it was Changgi. In other words, the wearing of all clothing items using Neungrabidan as a material was allowed equal to that of noble women.   In addition, not only silk, but also leather shoes and various ornaments of gold, silver, liquor, and jade were allowed like the upper class. Therefore, the gisaengs belonged to the heavenly class in terms of status, but unlike other heavenly women's costumes, their patterns were very colorful and diverse.   All kinds of colorful colors were used without any limitations in the colors used in the entire costume of the gisaeng. In particular, primary colors such as red, green, yellow, and navy were used a lot, and colleagues used a lot of red to undress. Therefore, overall, it was a complementary color contrast with the primary color, and as a result, the gisaeng clothes looked even more colorful. However, the regulation on the color in the court was very difficult, so only black clothes were allowed in the protest to treat the state guest, and Jeongjae's clothes, who were in charge of singing and dancing in the palace, were defined as red. Regulations on this color were so severe that in the 28th year of King Sejong's reign, Changgi wore gray without wearing black ginseng.Thus, the stage manager was detained in the Ministry of Uigum.There is also a record of ''. Here, it is very interesting that even if the color is strictly restricted, unlike ordinary celestial beings, it allows the wearing of long ginseng.   In other words, in Joseon society, they were very generous in the clothes of female Gisaengs, so unlike ordinary women, they could wear semi-chairperson jeogori on a normal basis, and when looking at customs paintings such as Pyeongyang auditor Hwan-do, the appearance of female Gisaeng wearing three-chairperson jeogori is also noticeable.   However, the use of double skirts was prohibited, and the sleeves of the clothes were straight without a curve, and the skirt was also closed to the right to distinguish it from the yangban women. However, by the time he was a Medicine Bangi, he had a big head on the red ginseng of rust as a robe, and the pus was treated as an unusual treatment to kick the needle pain.    The women's way of dressing was slightly different from that of ordinary women, so the inner part was exposed under the skirt. In addition, the length of the jeogori was exceptionally short, revealing the waist of the white skirt, and various colorful embroidery were placed on the waist of the skirt.   The skirt was emphasized by wearing several layers of waist skirts under the outer skirt, making the hip more inflated than the chest. Therefore, the width of the skirt was very wide to cover the dozens of insides, and the length of the skirt was quite long to give it a dance beauty. It is also a characteristic of gisaeng clothes that they wore by exposing the inner part under the skirt in the psychology of attracting men's attention.   Here, the closed intention of protecting oneself from men's pranks by wearing layers of underwear and the exposure psychology of intentionally showing underwear under the skirt show a double-dressing psychology that violates the interest rate. The inner parts were worn in dozens of layers to inflate the hip and expose the inner parts.   If you take a look at the inner entrance of the old Nolum students under the skirt, they wore underpants on top of the guzhengi and wore a crackdown place on top of it. Most of these crackdown places were made of bena or dangmok, and the width was very wide like a skirt, so it was said that it needed fabric to make a skirt. On top of the crackdown site, a five-width middle garment was worn, and it was a paper short waist skirt that was worn in a knot on the left. As such, by emphasizing the hip by wearing layers of underwear, it was suitable to hide it even if she was pregnant.   These clothes of gisaengs, called luxury slaves, bought the subtle envy of ordinary women and influenced the costumes of ordinary women as they came to the late Joseon Dynasty.     In other words, the short jeogori length of gisaengs and the shape of jeogori sold deep enough to show armpit flesh spread like a trend to common women.   As ordinary women secretly admired the clothes of female Gisaengs and tried to imitate them, the luxury worsened day by day, and in the middle of the Joseon Dynasty, various gold manufacturing ports were issued that prohibit luxury.   However, female Gisaengs were able to receive several benefits at the port of gold manufacture due to the peculiarity of their status as luxury slaves. One of them is "Subok." Subok is a term that includes both the shape of the head, the decoration of the head, and the use used when going out.    The head shape of the female Gisaeng was on top, and not only the female Gisaengs but also the general women and women reached a point where it became a social problem, so during the reign of King Yeongjo, all the heads were prohibited. However, the female Gisaengs were allowed to have their hair on top of them, and the garnish was designed to prevent waste of gachae, which was later replaced with a flower crown and used for female Gisaengs appearing in the royal court.   In addition, female Gisaengs of the Joseon Dynasty used Jeonmo as a use. Jeonmo is a hexagonal to decagonal hat surrounded by Geomji Saekcheon, and was allowed for upper-class people or female Gisaengs. In addition, the gisaengs in Pyongyang and Haeju covered their faces with snowflakes when they went out, and they could wear all kinds of clothes, tsugae skirts, and cloths.   Accessories were also exceptionally allowed for female Gisaengs. While the grooming of ordinary women, who emphasized virtue, should never be colorful or loud, the gisaengs enjoyed the luxury to their heart's content.