• 한국패션뷰티학회:학술대회논문집
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• 한국패션뷰티학회 2005년도 임시총회 및 추계학술대회
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• pp.47-48
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• 2005

• 한국생활과학회지
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• 제11권2호
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• pp.177-188
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• 2002

The purpose of this study was to appreciate Japanese clothing and ornament of the men's costume that showed a unique style of Japan as well as a mixture of foreign civilization in Edo period. The data related clothing, ornament and art of Japan were collected from books and slide films that had been studied in Japan, because the data studied in Korea were not enough. The results were as follows: First characteristic is. the dualism. The dualism was shown in the social class, estheticism and originality. In terms of the social class, the feudalism remained through their heraldry or mark of organization even though it was broken down. In terms of estheticism, it showed the coexistence of gorgeousness and plainness. In terms of the originality, it showed the coexistence of original Kosode and Kappa under the influence of Southern barbarians' mode. Second characteristic is the utility. $Ch{\check{o}}nin$ was needed to the functional clothing because of Its social position that had much activity. Therefore, the utility was shown in a simple silhouette of Haori and Hanten and in its way of wearing.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 춘계학술대회
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• pp.31-31
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• 2003

색채는 우리 삶의 건강과 미적 조화를 결정하는 요소이며 색의 '문화시대'로 이해되는 21세기에는 개인의 영역에서뿐만 아니라 국가적인 차원에 이르기까지 다양하게 활용될 전략적인 과제로 인식되고 있다. 그럼에도 21세기의 소프트웨어인 색에 대한 연구는 아직도 국내에서는 색명이 정확히 정립되지 못하고 있으며, 색을 적용하는 산업 현장에서조차 보편화된 도구와 색체계가 일관되지 못한 것이 우리의 현실이다.

• 출판저널
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• 통권110호
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• pp.10-13
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• 1992

우리는 머지않아 서점 대신 디스켓 전시장에서 책을 구입하든지, 아니면 아예 컴퓨터 판매네트워크를 통해 잡지나 책을 받게 될지도 모른다. 우리는 결코 그것을 있을 수 없는 일로 부정할 수는 없다. 그럼에도 불구하고 디스크책이 종이책을 완전히 대치하지는 못할 것이다. 책은 사라지지도, 사라져서도 안될 것이다.

• 한국생활과학회지
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• 제13권5호
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• pp.799-809
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• 2004

Our study found that the types and forms of patterns of Japan, although they are similar to those of Korea and China, hold their own distinctive aesthetic awareness. They were made so, because the Japanese had not simply copied the patterns from other countries and also had changed them in various ways for ages. Especially, geometric patterns were widely used on some types of kimono costumes and belts in Edo period. One of the most widely used patterns was called Suk Chup Mun, and Tatewaku pattern was another. The San Gil Mun and Chil Bo Mun pattern was least used. In the patterns combination, that of animal and plant patterns was general. A single geometric pattern was not used, but if any, it was in Sima patterns and latticed patterns. On the other hand, the combination of geometric and plant patterns was more frequently used as composite patterns than any other pattern, such as geometric pattern with home tools, or one with animal patterns or nature patterns. The geometric patterns that had appeared in Edo period were combined in paintings along with animal and home tools patterns, so it could become a representative pattern of the age.

• 한국생활과학회지
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• 제18권1호
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• pp.189-200
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• 2009

In the Edo period speaking of hair culture, common women wore decorative pigtail ribbons on the right, and twisted from side to side their tressed hair in such a manner as ungeunmeori and traemeori. Instead of gachae, common women used gogae made of their own hair, ungeunmeori on forehead, or jjokjinmeori at the back of head. During the Edo period, people women naturally exposed their necklines as a way of exposing their faces in the aesthetically ceremonial act of wearing make-up. As for lipsticks, they rouged extracts from red petals of safflowers mainly on their lips, and sometimes on their cheeks by blending this with white powder. Samurai families disliked women who wore thick lip makeup. In the latter period, women painted their necklines or foreheads black, applied a small amount of rouge on their cheeks thinly or thickly, and colored a reddish color into their fingernails by using petals and leaves of balsam flowers. Despite the chronological and spatial proximity of the King Jeongjo period and the Edo period, it was found that there were no similarities between two countries' cosmetic cultures. Moreover, it was discovered that current TV dramas were being produced, even not based on historical evidence in the Jeongjo period.

• 한국의상디자인학회지
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• 제18권4호
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• pp.117-124
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• 2016

This study considered about freaky design of men's wear in Edo period, and also compared and analyzed it to modern men's wear. The purpose for this study is to contribute to the development of modern men's wear by this analysis. Edo period was a male dominated period, so culture of showing off their powers appeared in their fashion as symbols of skulls, monsters or tattoos. Kabuki culture used this kind of social background and it incited the actors roles and clothes to become more famous. 2016-17 F/W, 2017 S/S modern men's wear expressed more various freaky design, so it was able to be classed as shapes, pattern, materials and total coordination. Edo period just expressed freaky design by symbols however, freaky design in modern men's wear is showing more various expressions. This study can conclude that freaky design usually shows weird, peculiar, scary and dampish images. Also freaky design showed in the persuit of various choices including parade of power in modern men's wear.

• 패션비즈니스
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• 제20권4호
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• pp.1-14
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• 2016

Japan has several unique traditional colors. The traditional colors of Japan include a collection of colors used in traditional Japanese literature, textiles such as the kimono, and other Japanese arts. Japanese color system has a long history, leading to some consistencies in color and naming. During the Edo period(1603~1867), the unique color sense of 'iki' produced many color names that are often related to mouse(nezumi) and tea(cha), and fashion color originated as kabuki actors. As for colors named after animals, the most popular appears to be the mouse, which is used to express grey tones. Recently, many fashion companies in Japan have been working on reviving an interest in traditional Japanese colors. Ordinary people of Edo named even slightly different color tones, each with individual exquisite and mind valuing 'iki' senses. They translated these into their livelihood and culture. The colorimetry result of 49 restored dyed fabrics were as follows; Hue difference was 7.8, value difference was 2.9, chroma difference was 1.8 of prefix siro. Hue difference was 3.8, value difference was 1.6, chroma difference was 1.7 of prefix usu. Hue difference was 3.5, value difference was 1.5, chroma difference was 1.4 of prefix cha. Hue difference was 6.4, value difference was 1.1, chroma difference was 1.6 of prefix koi. Hue difference was 7.5, value difference was 0.8, chroma difference was 3.3 of prefix nezumi.

• 한국철학논집
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• 제29호
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• pp.311-349
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• 2010

이 글은 2008년에 일본어·한국어·중국어·영어로 발표된 일본의 유학 사상 및 국학사상 관련 논문과 단행본들을 살펴보고 대략적인 연구 동향을 파악한 것이다. 여기에 소개된 약 200여건의 연구 성과들은 일본 에도시대(1603-1868) 사상가와 관련한 연구 성과가 망라되어 있다. 한번 일견함으로써 전 세계에서 에도시대 사상 및 사상가에 대한 연구가 어떻게 이루어지고 있는지 누가 어떠한 연구를 하고 있는지 바로 파악할 수 있을 것이다. 전체적으로 살펴보면, 주자학파, 양명학파, 고학파와 미토학파, 그리고 국학파에 대한 연구는 40건에서 60건 사이로 비교적 골고루 이루어지고 있다. 다만 그 중에서도 국학파에 대한 연구가, 가장 적은 주자학파에 대한 연구보다 16건이 더 많다. 이는 일본사상연구의 주류라고 할 수 있는 일본연구자들이 국학파 연구를 선호하기 때문이다. 일본어로 발표된 연구만 본다면 국학파 연구가 51건이며 주자학파 연구는 29건으로 22건이나 차이가 난다. 한국어로 발표된 연구는 주자학파와 고학파·미토학파가 가장 많은 7건이고, 국학파는 4건이다. 중국어 연구는 양명학파가 가장 많고 그 다음은 고학파와 미토학파이다. 영어권 연구는 각 학파에 골고루 2건 정도로 발표되었다. 언어별로 살펴보면 보면 일본어 연구성과가 153편으로 압도적으로 많고 한국어 연구 성과는 모두 20건인데 중국어 연구는 24건이다. 영어권 연구는 그보다 훨씬 적은 7건이었다. 연구가 가장 많이 이루어진 사상가는 모토오리 노리나가로 총 33건이다. 그 다음이 요시다 쇼인 23건, 오규 소라이 21건이다. 한국어 연구 성과가 많은 사상가는 모토오리 노리나가(4건)와 야마자키 안사이(3건)이다. 중국어 연구성과는 야마가 소코(4건), 요시다 쇼인(4건), 오규 소라이 (3건)이다. 중국어의 경우는 국학파에 대한 연구성과가 가장 적으며, 한국어의 경우는 양명학파에 대한 연구가 가장 적었다.

• 전산구조공학
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• 제4권3호
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• pp.27-30
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• 1991

막구조는 전술한 바와 같이 오랜 역사를 통해서 발전을 거듭해 오면서, 이 시대의 필요성에 따라서 나타나는 대공간을 구성하는데 커다란 역할을 하고 있음을, 세계 각국의 현황을 봄으로서 우리들은 이해할 수 있다. 그러나 막구조의 인식부족과 아울러 금후에도 많은 문제점을 안고 있으며 또한 강력한 장력을 갖는 막재료의 출현으로 무한한 가능성도 배제할 수 없는 흥미로운 건축 구조분야이기도 하다. 본 고에서는 금후의 과제를 다음과 같이 몇개의 분야별로 즉, 막구조의 보급 및 정착, 막재료의 장래 및 막구조의 새로운 가능성 등에 대한 과제에 대해 기술하고자 한다.