• 보존과학연구
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• s.34
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• pp.50-61
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• 2013

The Grave encapsulated by lime soil mixture were excavated with clothing and hemp shoes from the Choseon Dynasty in Gooam, Sacheon. Hemp shoes have wood in the center and their surroundings were made of complex materials including herbaceous ones but the front part was lost or became very fragile. We analyzed the hemp shoes and pre-test of consolidant for conservation treatment of hemp shoes. As a result of analyzing, three kinds of plants were identified. For hemp shoes, Oryza spp, hemp, and one kind of dicotyledones were used and it was analyzed that fabrics attached to the back of Dogaengi was cotton. Conservation methods for pre-test of consolidant, Polyethylene Glycol, Paraloid-B72, Dammar gum, Methyl Cellulose and Silicone resin was selected. The solution was sprayed twice in a 24-hour duration. Properties of consolidant was measured; color difference, glossiness difference, folding streangth and tensile streangth. By comparing the results, PEG was confirmed to the most suitable as consolidant. For the conservation treatment, cleaning and strengthening was conducted. For strengthening treatment, PEG 4000 was selected given that the shoes were made of complex materials. The PEG impregnation method was applied with the PEG 4000 concentration gradually changing from 5% to 80% for reinforcement. Then humidity- controlled drying in order to avoid any rapid environment change.

• The International Journal of Costume Culture
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• v.13 no.2
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• pp.141-153
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• 2010

Fashion needs to be understood as practicality and creative behavior and various movements of paintings act as inspirations of original design for fashion designers. This study seeks to find sources of fashion designs in the works of Mark Rothko who is in the center of color-field abstract. Color-field of Rothko provides infinite inspirations as colors are identically treated as shapes and lighting and textures are all included on top of it. In this study, the purpose is to create color focused artistic fashion design by exploring the possibility of expression with the colors of Rothko as the main motive. The study method is as follows. First, the concept and significance of color-field abstract are researched through documented data. Works of Rothko is divided into three periods according to their characteristics. The background of the formation of color-field abstract of Rothko is understood by analyzing the trends of the works in each period. Second, twenty representative works from 1949 to 1969 are selected and analyzed in formative components of color, shape and textures in order to more accurately understand shape of colors, brilliance, simplicity that appear in the mature color-field abstract of Rothko. Third, preexisting methods of color-field of paintings developed into motives of clothing are studied focusing on the collections from 1997 to 2006. Examples of applications of color-field images in modern fashion designs are analyzed. Fourth, motives are selected based on general characteristics of color-field abstract of Rothko and the results of the formative analysis. Clothing is produced that expresses the colors of the paintings of Rothko more effectively. As the results of the study, restrained shapes and textures and various forms of color combinations shown in color-field abstract of Rothko provided deep inspirations on material composition and color planning for fashion design focused on colors. Additionally, needle-punching technique using wool for the production technique enabled relief texture expressions of materials by colors and effective applications of soft and warm atmosphere of color-field abstract of Rothko on clothing. Especially, the ideology of color-field abstract of Rothko of shaping of colors could be expressed and the direction of the development of motives could be presented at the same time by specifically applying color combination method using horizontal division of atypical color-field from the formative characteristics of color-field abstract of Rothko.

• The International Journal of Costume Culture
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• v.4 no.1
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• pp.25-33
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• 2001

This study is to analyze Korean-Chinese women's Costume in Yabian with factors such as reform opening-up, economic growth, change of social values, development of technology, more education opportunities and influence of mass media. It divides the 1990's into two halves. Photos, interview, observation and relevant literature were used for this study. Even though economy grew rapidly, they needed to purchase daily goods other than clothes. In a way that they preferred practicality, it showed somewhat it was still developing. The trend in the first half of the 1990's was characterized : first, Synthetic or artificial fibers and ready-made suits were popular ; second, there still remained the men's style ; third, they wore Tanrikoo(彈力袴), Tisingkoo(體型袴), Jiaotakoo(脚袴) because of its properties of activeness and comfort ; fourth, shoulders looked ore prominent with pads as they were used in Chungsanfoo(中山服) ; fifth, clothes in grey and dark blue was in fashion ; sixth, they wore hand-made knit vests and sweaters and often mountain-climbing gears for its light and warm quality ; seventh, along with opening-up, various materials and colorful clothes were in style, which satisfied women's desire for beauty. They decorated Hanbok(韓服), using sleeves with colors, golden ornaments, flower patterns embroidery, materials of different color in collar and tie and dyes of sleeves and skirts. In the first half of the 1990's when the opening-up was beginning, there were diverse styles and colors in fashion, yet not close to good quality. As the economy grew, the second half of the 1990's was characterized by good palate, individuality, favouritism on foreign goods, rapid change of fashion. For instance, fur coat and woolen fabric were favored. Economic growth led to abundance of cloth, dyes and decorative materials. In addition, people possessed more clothing and it was possible for them to wear both Hanbok and wedding dress in wedding ceremony. People placed their standards on competency and financial ability rather than ideology. Worship disappeared and individuality arose. Therefore, apparel functioned not only as protection but as suits with aesthetic purpose. This resulted in introduction of bold style, imitation of western countries and extension of use of Hanbok. With the help of mass media, transportation, telecommunication, contact with Korean company and civilians, Korean and western cultures, through Korea, were accepted. Change in structure of economic status caused excessive spending and more educational opportunities that enabled people to accept foreign culture quickly. Values moved onto new, beautiful and better characteristics. it was possible to have suits ready-made due to improvement of mass production and cotten, wool, linen, silk became popular owing to technology. New technology, the bases of mass consumption, increased possession of clothing and accelerated change of fashion. In summary, women's Costume in Yanbian were affected by the factors in economy, politics, culture contact as well as change of society and technology.

• The International Journal of Costume Culture
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• v.2 no.2
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• pp.97-118
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• 1999

Ever since China adopted a free market economy, it has been basking in unprecedented economic growth. It has now emerged as one of the most promising markets in the world for the near future. The purpose of this study was to investigate of Chinese and Korea college female students's cognitive body type and to suggest basic informations for high quality clothing merchandising for china export. The subjects in this study were 430 college female students, aged from 18 to 24 living in Beijing(215) and Seoul(215). The survey were taken from June to July, 1999. SAS(Statistical Analysis System) is used for frequency, percentage, average, standard deviation, χ²-test. The results of this study are as follows. The 90% of Chinese collge female students has under 4000 yuan for monthly income, and they consume less than 1000 yuan for clothing purchasing for one year. About 42% chinese students are interested in controlling of physical body shape. The Korean college female students has from 1,000,000 won to 10,000,000 won for monthly income, and the 84% of them consume less than 1,000,000 for clothing purchasing for one year. It represents of economical difference between China and Korea. Examination on the Korean and Chinese self-perception on obesity of the body as a whole showed that both groups perceived themselves as normal or slightly overweight. More Korean respondents regarded their weight as normal than the Chinese did. The Chinese female college students perceived themselves rather overweight, and held a lower satisfaction level about their physical construction. While the Korean female college students showed low satisfaction level about specific bodily parts, they held a normal level of satisfaction about their physical construction as a whole. It is noteworthy that more Chinese respondents generally held lower satisfaction impressions about their physical construction than their Korean counterparts. It is needed to different merchandising project for export clothing in China.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.911-922
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• 2007

In this study, for the purpose of correct viewing on the image of Africa and understanding of modem fashion, African image and art, the general characteristics of African costume, the background of fashion subjecting African image, and the trend according to ages were examined based on theoretical background. Then the researcher drew African image by analyzing the works in four 2005 S/S major fashion collections to designers and design factors. The ten voted designers' and brands' works in 2005 S/S collections had four concepts of African image; 'Wild Erotic', 'Abstract Primitive', 'Natural Elegant' and 'Sporty Romantic'. The viewpoint of modem fashion on African image from the aspect of design, designer and fashion trend can be examined as below. First, African costume, which was religious and ceremonial, appeared to emphasize its esthetic side with decorative details in modem fashion design and designers competed to choose a method to harmonize tradition and modem style and by adopting these from occult to decorative meaning, Second, fashion designers presented city unpolished beauty of modem women to a special style and made african image to be recognized as a code of fashion culture by integrating it with modem people's mind to go back to the past and admiration for the purity of nature. Third, thanks to the instinctive vitality hidden in the primitive life, inspiration for creative design that is found in the esthetic mind of the Indians, foreign taste emphasizing ethnic trend, and admiration to naturalism due to the increase of concern over ecology, 'African image' led the beginning of 21C trend by being settled as a in fashion trend.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.5
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• pp.343-353
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• 2021

Historical dramas are changing in response to the public who wants more dramatic development, and historical costumes are also expressed in a modern sense. The purpose of this study is to examine the modernization of historical costumes in historical dramas and how the modernization of historical costumes in historical dramas is fostered from the learner's point of view with suggesting implications. As a result of this study, first, the essential problem with the modernization of historical costumes was the excessive modern transformation that undermines historical facts in historical dramas. Second, the negative perceptions of the modernization of historical costumes in historical dramas included the loss of the unique Korean identity, decreased immersion in drama, and the educational influence of media. Positive perceptions focused on the increased interest through raising awareness of traditional culture, compromises on changes in the times, and increased visual play of the public. Third, the implications of the modernization of historical costumes in historical dramas require the awareness improvement of participants in historical drama and a thorough preliminary investigation by the costume designer on the historical costume, an in-depth study of traditional costumes, a systematic educational approach, viewers' attention, and government effort.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.258-277
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• 2020

The purpose of this paper is to examine the paintings and symbols of the Jeju Guandeokjeong murals, Treasure No. 322. Gwandeokjeong Pavilion in Jeju is one of the oldest buildings in Jeju and was built in 1448 during the reign of King Sejong (世宗) of the Joseon Dynasty to serve as a training ground for soldiers. Unlike Gwandeokjeong Pavilions in other regions, Jeju's Gwandeokjeong Pavilion has a long history and is of cultural value due to its beautiful architecture. In addition, it contains various murals which are a further source of attention. There are four murals on the front and back of the two Lintels on the left and right sides of the building. Their contents include of 『The Three Kingdoms (三國志)』 and and on the back. Towards the right, is depicted, with on the back. Based on a replica of the murals from 1976, the plan, style, and age of the Gwandeokjeong Pavilion murals have been studied, together with their meanings. The contents of the mural are broadly divided into five parts, which are identified by the tacit signatures atop the screen, which provide such details as the painting titles. The paintings on the left and right sides of the center appear to inspire the spirit of the military's commerce in order to boost soldiers' morale, protect the country, and protect the people in line with the purpose of Gwandeokjeong Pavilion. The following and figuratively depict guidelines for the behavior and mindset of officials. In particular, is a painting concerned with concepts of longevity and an auspicious (吉祥), which shows how court paintings became popular as folk paintings at that time. The paintings of tangerines and other specialties of Jeju Island, the ritual paintings of Jeokbyeokdaejeon, and the expressions of Mt. Halla (漢拏山) and Oreum (오름) indicate the existence of Jeju artists that belonged to the Jeju government office at that time. The five themes and styles of the murals also show that the murals of Gwandeokjeong Pavilion were produced in the late 19^th and early 20^th centuries.

• Journal of the Korean Society of Food Culture
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• v.9 no.2
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• pp.111-118
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• 1994

The purpose of this study was to understand dietaty culture of the Buddhist priesthood in Seoul and Kyungnam. This survey was carried out through questionnaries and the subjects were 26 temples and hermitages. The results of this study can be summarized as follow: 1. Most of the Buddhist priesthood takes meal three times for a day regularly. The substitution food was used mainly rice gruel, fruits, powder of roasted grain, kinds of cookie and confectionary, kinds of steamed dish and milk. 2. The seasoning substances were used necessarily soy sauce, soybean paste, salt and sesame, sesame oil, vegetable oil, and used rarely Jepi powder, red powder, chinese pepper and M.S.G. 3. Eating table was used chiefly for Buddhist priethood and a vistor, and tea and cookie, D'ock, noodle were used often. Event and party foods of temple were used Bibimbab, Ogokbab, Yagbab, D'ockguk, soybean of noodle. 4. Offering food to Buddha was used to Five-offered to Buddha(香, 燈, 茶, 果, 米) primarily and religious food was used scarcely. 5. Special food was used D'ock, hand made cookie and confectionaries, kinds of chinish medicine tea and pine needle tea. Injulmi and Julpyun were prepared most frequently, and used to mixed rice flour with mugwort now and then. Coating and filling powders for D'ock were used to red bean, mung bean and soy bean. Kinds of hand made cookie were Yagkwa, Kangjeong, Dasik, Jungkwa and Yangeng. Beverages were thick hot beverage, kinds of leaf tea, chilled beverage, Yaksu mixed with soy sauce and bamboo salt, kinds of chinese medicine tea, milk and milk products and pine needles tea. 6. Preserved foods were used edible mountain herbs and seaweeds in drying and frying.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.18-37
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• 2019

This study derived a method for establishing the chronology of cloud patterns by examining the arrangement of the treasure motifs in the cloud pattern used in the relevant pattern-decorated book covers of 89 Oegyujanggak Uigwe books, which are currently housed in the National Museum of Korea. The cloud pattern with a treasure motif was used in the covers of a total of 89 books from King Hyojong Gukjangdogam Uigwe (1659) to Sadoseja Garyedogam Uigwe (1744), spanning 86 years. First, to analyze the cloud pattern, it should be broken down into smaller parts to the extent that the different shapes of treasure motifs can be recognized. Secondly, the method of decoding the pattern is as follows: First, check whether the pattern is arranged in one or two directions from the vertex of the cloud's head, and determine the direction of the cloud tail. Then, decode the treasure motif's arrangement starting from the vertex of the cloud's head toward the direction the tail of manja is headed. Record the findings of this decoding process by categorizing them. Thirdly, as a result of the analysis, a total of 28 types of cloud patterns with treasure motifs were identified in 89 books. There were 45 types of treasure motifs used in such patterns. Finally, we have concluded that applying the method of decoding the treasure motif in the cloud pattern to portraits, excavated costumes, and various relics can be useful to establish the chronology of cloud patterns in the late Joseon period. The method suggested in this study is called 'The Reading Method of Chronology in Cloud Pattern with Treasure Motifs' (also 'Jeung-ha Cloud Pattern Reading Method').

• (The) Research of the performance art and culture
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• no.35
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• pp.93-123
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• 2017

The Buddhist dance, which is considered to be the essence of Korean folk dance, has changed and developed over many years, having profound influential relations with Buddhism in terms of its origin, source, title, and costumes. Today the Buddhist dance is performed in two fixed types, Jangsam dance and Buk dance, but it is estimated that there must have been various forms of Buddhist dance during the Japanese rule based on the its historicity and various origination theories. It was around 1940 that Jang Yang-seon, the master of Haejugwonbeon, turned 'Seungininsangmu' into a work through Yang So-woon. The present study analyzed the video of 'Seungininsangmu' performed at the 'Performance in the Memory of Yang So-woon' in 2010, and the analysis results were as follows: first, the dance has a clear message to be delivered in its title and connotes an origination theory of Buddhist dance, which argues that the Buddhist dance was created by a Buddhist that underwent agony and corruption during his ascetic practice and later returned to Buddhism. Secondly, the process of Jangsam dance - Buknori - Bara dance - Heoteun dance - Hoisimgok - Guiui shows the thematic consciousness of the dance clearly in a sequential manner. Finally, the dance was in a form of combining various expressive methods according to the story and its development including the Bara dance, a dance performed in a Buddhist ceremony, the Heoteun dance, which is strongly characterized by individuality and spontaneity that are folk features, and Hoisimgok, the Buddhist music. Those findings indicate that the dance reflected well the flow of putting the Buddhist dance on the stage or turning it into a work in the early 20th century. Compared with the types of Buddhist dance in a strong form including the Jangsam dance and Buk dance, 'Seungininsangmu' conveys the meanings that the original Buddhist dance tried to express in terms of content and reflects on the diversity of combined Akgamu and theatrical elements in terms of form. The present study is significant in that it offers many implications for the Buddhist dance capable of future-oriented development.