• Korean Journal of Oriental Medicine
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• v.17 no.3
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• pp.17-24
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• 2011

Bonchoyuham Nyoryeong(本草類函要領) shows how Donguibogam(東醫寶鑑) -Mirror of Eastern Medicine- is understood, digested into Korean medicine, and at the same time how it participated in the historical shaping of Korean medicine since the publishing in the early 17th century. The author, Hyeon Jae-deok, internalized the structure, content, and significance of Donguibogam and drew out a novel, concise, but comprehensive type of medical manual, while many other medical books since the 17century in Korea are estimated to have been an abridged edition of the Donguibogam. It may well be estimated as exemplar of the extent to which Donguibogam informed Korean medicine since the 17 century. The book shows as well how Bencao Gangmu(本草綱目) -Compendium of Materia Medica- and Donguibogam are merged and set a new medical stream in the 19th century Korea. Hyeon Jae-deok looked at the Bencao Gangmu from the lens of clinical treatment and prescription such that he focused on sections, elements, or parts of procedures, treatments, and prescriptions, not on the herbal taxonomic knowledge of the book. This perspective was embodied in Bonchoyuham(本草類函), which cited simple remedies, prescriptions, or treatments from Bencao Gangmu.

• Journal of Fashion Business
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• v.22 no.1
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• pp.100-113
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• 2018

From the late 17th to the early 18th century, Europeans were strongly intrigued by products from the East. Therefore, several countries like England, France, and Netherlands formed the 'East India Company' to pursue trade. First, European markets rapidly responded to this desire for exoticism by importing goods; then, they produced imitation Oriental goods. Finally, they made stylistically advanced exotic merchandise from the perspectives of European. In terms of the textile industry, this trend was expressed in the pattern design of silk, or the so called 'bizarre silk.' In this paper, bizarre silk patterns were scrutinized based on a digital archive of museums, catalogues of museums, portal sites, and the literature. The bizarre silk patterns were analyzed then classified into six categories: pseudo-Oriental plant pattern, pattern mingled with architectural motifs, pattern of juxtaposed with Oriental goods, abstract pattern, exuberant pattern with metal threads, and semi-naturalistic pattern. These patterns were characterized according to the following features: strangely large exotic floral patterns were undulating and asymmetrical; exotic foliage and flowers were sometimes mixed with architectural motifs or Oriental goods to easily show the Oriental influence; motifs of bizarre silk patterns were abstractly stylized; bizarre silk patterns became luxurious once more like the Baroque period; finally, floral patterns became more natural, and still exotic motifs remained in the background to maintain the bizarre silk features. These bizarre silk patterns evolved from the viewpoints of Europeans through acceptance stage, compound stage, and confluent stage.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.89-108
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• 2016

The purpose of this study is not only to trace the examples of 'Chesanja' from the texts and artifacts, but also to restore the terminology of the lost traditional Joseon embroidery technique. 'Chesanja' came on Mongolia and Yuan period affected embroidery techniques of the neighboring countries. Therefore, this study will focus on investigate the process of changing 'Chesanja' into Guya(Goya) through ${\ll}Barktonsa{\gg}$ the foreign language transcriptions of the Chosun dynasty, and examine the generation, fashion, and destruction of this technique with the social technical usage. Around the 16th century of the Joseon Dynasty, 'Chesanja' had been actively used as a decorative techniques to dairy products as well as a Buddhist memorial goods embroidered. Accor- dingly, in the "Beonnyeok-Baktongsa"(1515) appeared together written records with 'Chesanja' 'Gwiyeo[귀여]' the Eonhae(Korean annotation) only had emerged in the Joseon Dynasty. It was still a technique to decorate the edges of royal pillow in the mid-17th century. And we have checked from the text "Baktongsaeonhae"(1677) also. Despite this by the mid-18th century, the term in "Baktongsa-sinseok"(1765) and "Baktongsa-sinseok-eonhae"(1765) had disappeared. This phenomenon suggests the possibility that the production and utilization of 'Chesanja' required the sophisticated process for the ruling class had been declined with the custom of embroidery based on the gradation by colorful threads as the preferred technique. Therefore, 'Chesanja' and 'Gwiyeo'[귀여] disappeared from the records but they can be found in the artifacts of the royal family of 19th century. So Chesanja is calls Guya(Goya) and exists as unique technic only in the royal family.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.2
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• pp.167-180
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• 2011

The portraits created in the age of Queen Elizabeth I show a very exquisite description about the ruff collar and cuffs representing the notable evolution of periodical costumes from a detailed viewpoint. This thesis analyzes the ruff collar and cuffs of the portraits of Queen Elizabeth I. The method used selects 32 pieces from the portraits of Queen Elizabeth I that are considered excellent depictions of a ruff collar and cuffs, to investigate size, form and decorations. Conclusively, the ruff collar tends to be extremely enlarged and thickened (coinciding with the development of glue) while the cuffs denote the aspect of double cuffs coupled with the turn-back cuffs without a change in size. These traits were widely shown from 1585 to 1587, while after 1588 the ruff cuffs completely disappeared in the portraits of Elizabeth I. At the same time, the change of a ruff collar was remarkable, the collar being in the erect position behind the head (with the use of supporters), of a consistent thickness and decoration of elaborate lace. During the transition period from the $16^{th}$ century to the $17^{th}$ century the earliest change was in cuffs followed by collars. This research is a helpful guide to detect the relatively exact date of portraits not definitively identified in the latter part of the $16^{th}$ century and to observe the microscopic evolution of costumes in the latter part of the $16^{th}$ century.

• Journal of Fashion Business
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• v.8 no.2
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• pp.126-140
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• 2004

The purpose of this study is to examine the fashion design applying to the hoop, which have become various since 1980. To do this, this study is investigated the origin and the changes of the hoop historically, then classified its types, and finally analyze the collections from 1980 to 2003. The hoop was appeared on the late 15th century. Then in the mid 16th century, bell-shaped farthingale was prevailed, followed by drum-shaped wheel farthingale and hausse-cul in England and France. In the 17th century, slim silhouette was popular, so that the hoop declined gradually. In the 18th century, panier and panier double were introduced which is to make side-expanded skirt silhouette. In the 19th century, crinoline and bustle were created. The hoops applied to modern collections are used various materials, techniques, and forms. It is a main item of historicism which appeared in the trend of post-modernism and the phenomenon of applying underwear to an outer garment like corset. The hoop is adapted into three ways: only with the frame of hoop, wearing a skirt with some parts of the frame exposed on purpose, and wearing a skirt on the frame, thus not showing the frame. Thus, it is thought that wearing a hoop as a frame is used an element of recreation of past fashion, at the same time it was affected by historicism which is a branch of post-modernism. Applying the hoop as an outer garment may be affected by eroticism which changed underwear into an outer wear in postmodernism and deconstructivism.

• Journal of the Korean Society of Industry Convergence
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• v.26 no.1
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• pp.59-68
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• 2023

A new type of private education institute appeared starting from the 16^th century, called Seowon consist of educational spaces and Jesa(a form of memorial ritual for the family's ancestors) space. Seowon Architecture is representative Confucian Architecture. Seowon is a kind of private school and it is a higher educational institute. the time of establishment was from the middle of 16^th century to the end of 19^th century, but the famous Seowon which remains up to now had been mainly built from the end of 16^th century to the beginning of 17^th century. Seowon was built on a quiet place far from the town for Students and Scholars to concentrate on their study. and it has beautiful surrounding scenery. Seowon has a place for study in the front and a place for sacrifice at the back regardless of configuration of ground. Gangdang is a building in the place for study in which teacher and students study. It is smilar place to Myongryundang of Hyanggyo. As a plan composition, there is a wide Daechong and two rooms at the both sides. Infront of Cangdang, there are Dongjae and Seojae on the right and the left side which are student' dormitory. This study argues that the Confucianist ideas and topography are the factors that determine the hierarchy Seowon. In light of this, A Study on Spatial Configuration of Education Area in Do-dong Sewon attempted to conduct an analysis by applying such backgrounds, and therefore studied the arrangement rules and construction methods for Seowons.

• Journal of the Korean Society of Food Culture
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• v.23 no.2
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• pp.273-292
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• 2008

Among all the ingredients usedin mandu, the following types were used:, 13 types of grains were used (12.38%), 30 types of vegetables, fruits, bulbs,and nuts were used (28.57%), 32 types of marine products, birds, meats, fishes, and shellfishes were used (30.48%), 10 types of functional ingredients were used (9.52%) and. For spices, 20 types of spices were used (19.05%). 2. Cooking Methods offor Mandu. The mMandu eaten at in the early Joseon era had was primarily made ofusedbuckwheat that contained boiled tofu or egg uiijuk in the kneaded dough for the most part and while kneading with buckwheat, the tofu or egg uiijuk has been boiled down to knead the dough, and and starch powder, bean powder, or rice powder, etc were mixed to make the mandu coating. Buckwheat powder was mixed toadded to the flourwer or was used by itself, while meat, vegetables, tofu, and shiitake mushroom, etc were also addedincluded. From the 18th century, the host plant, or cabbage kimchi, were prepared and combined had been sliced to be used as filling together while red pepper powder was mixed combined withto spices or vinegar soy sauce to be used together. Also, Radishes had beenwere also used as filling, but shown as not being used fromafter the start of the 1900's. For the shape of mMandu, it was madeinto different shapes such as as triangle, rectangle, date plum, gwebul, half moon, or pomegranate shapes, and then shapes to be boiled in simmering water, baked, or cooked as soup in clear broth for soup., In the 17th to 18th century, boilingthen in a steamer gradually became a cooking style, assumed the style of boiling in a steamer in $17th{\sim}18th$ century while in the 16th century,the an essay ofn fermenting flour in ‘Food Dimibang’ in 16th century had indicated it was cooked as the style ofby steaming in a rice steamer. Also, Mandu may have also contained the following: the thin-cut and boiled fish was cut out thin to put into the filling and boiled down, made by putting in added pine nuts after making bbeef jerky or boiled- down meat, fish, or shellfish itself to extractsand mold mandu only the ingredients combined withto put on starch powder, and then boiled down and put on pine nut powder finally, after it or cooled it wasdown to be eaten by dipping in vinegar soy sauce. In conclusion, many different types of mandu were made during the Joseon era using a variety ofwhile the ones using such various ingredients. are also one type of mandu.

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.112-122
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• 2007

This study reviewed the costume mainly on the Joseon Giroyondo(耆老宴圖) between 17th 18th Century. In Joseon Dynasty, they produced paintings to commemorate the meeting of Girohwe(耆老會), namely Giroyon(耆老宴); this painting is Giroyondo. The feature of Giroyon depended on political purpose and social phenomenon. Therefore, the composition of figures in Giroyondo and their costume were seen differently. By its character, Giroyondo was classified into official one from Giroso(耆老所), private one arranged by the participants and Court Giroyon(宮中腸宴圖). People figured in Giroyondo are roughly divided into costume in Girosin(耆老臣) officials and minor officials. Girosin officials wore Hongdalyong(紅團領) and Samo(紗帽) in official Giroyondo while they wore Hungnib(黑笠.) and Jingnyong(直領) in private Giroyondo. In Court Giroyon, which was for classy and formal Court event, they wore Dalyong(團領) and Samo but in colors of blue and green. Minor officials were observed in two categories; those who wore Samo and Gakdae(角帶), and those in Dugeon(頭巾). However, they were not showed up in private Giroyondo.

• Journal of Fashion Business
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• v.9 no.6
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• pp.56-70
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• 2005

This study investigates historically difference by age of wig banishments that symbolize social-economic status from West Egypt era baroque age as qualitative study that use secondary bibliographic data, there is purpose. Conclusion of this study is as following. Because wig putting on that symbolize among several usages of wig putting on, socio-economic status until 17th century baroque age from ancient Egypt is been in fashion through privilege class lower classes as well as upper class wig putting on attain. Ancient wig putting on became measure that divide class because differ material of wig or one dimension, shape (style) and length became linear measure that it can aim wealth's emblem that putting on of long wave wig and whole wig that differ lust has many wig though was in fashion though whole wig and were in fashion arriving to Renaissance. That it becomes France clean fingernails' necessaries as Louis the 14th that ready crux of absolute authority establishment of France Court put wig from depilation to count 17 was clear socio-economic status etc. symbol measure inclination. Go without question status or position, wealth and churchman puts wig so that can know special sex of weapon of where the soldiers are belonged as well as put wig and wig putting on was parted according to job and lower classes participated in fashion of wig putting on. Wig putting on that become measure that symbolize job or status in this baroque age, position, wealth etc. gave absolute influence in wig fashion in 18th century.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.31-48
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• 2007

The purpose of the this study is to make a historical review of changes in the structural decorations of men's costume from ancient times to modern times and to provide basic materials for developing handicraft decoration techniques and sewing methods in contemporary fashion. Their gorgeousness of collars and sleeves reached its peak along with the exaggerated expression of the human body during the Renaissance when people were free from Christian traditions of the Middle Ages and pursued human pleasures. Huge and decorative collars gave great dignity and formality to the wearer. Sleeves were slim and cuffs were small or nonexistent after the French Revolution. Various decorated pockets had been developed since pockets began to be attached to coats in the 17th century. Pockets were at the bottom of coat in the late 17th century, but they were gradually placed much higher on the coat. Buttons began to be used as the tool for sticking fast body to clothes in the 12th century and became extremely sumptuous accessories in the $16th{\sim}18th$ centuries. Men's clothes were simpler and more practical after the French Revolution. The result was that decorative buttons begun to disappear and metal buttons came out for practical purpose. The number of buttons worn on sleeves was also noticeably reduced. This research suggested the possibility that various decoration techniques could create the unique details in the each part of clothes. In order to develop high value-added products, we need to study various decoration-sewing methods and put to practical use them for creative fashion design.