• Title/Summary/Keyword: 인도 복식

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Customer Information Management of Online Fashion Companies: From CRM Perspectives (CRM 관점에서 본 온라인 의류업체의 고개정보관리)

  • Chung Ihn-Hee;Kim Soon-Chul;Hwang In-Do;Jung Ji-Wook;Choo Ho-Jung
    • Journal of the Korean Society of Costume
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    • v.56 no.2 s.101
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    • pp.83-100
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    • 2006
  • As online fashion businesses achieve rapid growth in the last few years, they gather various kinds of customer information through customer registration procedures and expect to utilize this information for CRM programs. The purpose of this study were to understand the current practices of customer information management of online fashion companies and to discuss how to improve it for the benefit of both customers and fashion businesses. This study included three steps of empirical data collection process: First, online fashion companies were visited and content analyzed at three time periods-2002, 2003, and 2004. Second, a questionnaire was developed and surveyed with 488 customers. And third, interviews with two groups were conducted, one with customers who experienced customer registration with online fashion companies and the other with experts of web developing. Through customer registration procedures, personal and contact information such as name, citizen registration number(social security number), home address, home telephone number, and cellular phone number were most frequently required. Customers were asked to provide more specific information regarding their privacy, online behavior, and taste recently. The variety of information category in 2004 observation was larger than 2002, but the amount of required information from each company got smaller. Customers tended to provide some false infor- mation, and the most frequently cited reason for that was 'too much hassle' and 'no practical benefit from information provision'. Customers were concerned with the exposure of personal information such as citizen registration number. The ideal number of pieces of information required was identified as 3 to 5 including name, phone number, and address. The paper was concluded with the discussion of customer information management from CRM perspective, CRM program, information analysis methods, and security.

The characteristics of Pacioli's Bookkeeping (파치올리 부기론의 특성에 관한 고찰)

  • Yoon Seok-Gon
    • Journal of the Korea Society of Computer and Information
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    • v.10 no.3 s.35
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    • pp.297-306
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    • 2005
  • Compendium of arithmetic, geometry, and proportions and proportionality' that was published in Venice in 1494 has been recognized as the first bookkeeping data in the world. Major characteristics of Pacioli's bookkeeping rules were reviewed in this study as follows: All the necessary particulars for double entry bookkeeping were provided in Pacioli's bookkeeping rules;. List of property was described at the time of start of business; Three major books were used; Details of daily transactions were considered to be important; Strike through was lined at each description in journal books, details of daily transactions, and list of property after entry of ledger; Amount columns were provided and Arabic numerals were used; Annual settlement custom was being initiated; Profit and loss account was prepared at year-end; Trial balance sheet was inevitably described; Books were verified prior to closing accounts; Control account was not established; Financial statements were not prepared and business analysis was made, too; Finished goods inventory was not adjusted; Mark was assigned to books; Inter-office account was prepared; Branch accounts and branch ledgers were prepared; There was entries of trust; Current arrangement was described; The principle 'Cost or market price, whichever is lower basis' was promoted: Petty cash system is explained Checks and bills of exchange are used in bank account. As mentioned, characteristics of Pacioli's bookkeeping rules were reviewed; the signs of necessity for preparation of profit and loss statement and balance sheet is found as well as preparation of trial balance sheet and the rules may be considered as a very excellent one in terms of the bookkeeping on initiating stage of double entry bookkeeping.

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A Study on the Promotion Plan of the 2032 South-North Korea Joint Olympics (2032 남북공동올림픽 추진방안 연구)

  • Lee, Dong-Hee;Kim, Heung-Tae
    • Journal of Korea Entertainment Industry Association
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    • v.14 no.8
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    • pp.353-379
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    • 2020
  • The 2032 South-North Joint Olympics is an agreement between the two Koreas. Through this, various efforts are needed to improve new inter-Korean relations and co-prosperity on the Korean Peninsula. The purpose of this study is to proceed with the 203 South-North Joint Olympics. This study was developed by literature reserch methods. The result of this study are as follows. First, Seoul-Pyongyang soccer exchange game will be promoted. Second, the International Peace Cup a relay race(Marathon) will be held. Third, Korea Peace Cup International Table Tennis Championships will be held. Fourth, I propose holding the Korea Sports Science Forum. Fifth, about 16-17 events are propose for North Korea to host the 2032 South-North Joint Olympics. Sixth, the decision to host the 2032 Summer Olympics is expected in 2022 or 2023. Seventh, it is necessary to promote the Inter-Korean Social Association cultural Exchange and Cooperation Committee or the Special Committee for the Promotion of the Inter-Korea Sports Exchange and Cooperation. Eighth, it is necessary to implement a five-year plan to promote Inter-Korea sports Exchange Cooperation or a five-year plan for Inter-Korea sports Exchange and Cooperation. Ninth, the North Korea player registration system will be promote to the South Korean K-1 League. Ten, suggest sports exchange and cooperation ahead of time. Eleventh, train experts on North Korean sports or exchange and cooperation. Finally, the South-North Korea sports exchange Agreement will be promoted. It also promotes the Inter-Korea sports Exchange and Cooperation Support Act.

A Study on 'Seungininsangmu' of Haejugwonbeon (<성인인상무>에 대한 연구)

  • Kim, Young-Hee;Kim, Kyung-Sook
    • (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.

The Characteristics of the Color tones on Korean Traditional Color Blue and Red (한국전통색 청$\cdot$홍의 색조 특성)

  • 이경희
    • Archives of design research
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    • v.12 no.4
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    • pp.317-326
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    • 1999
  • The Korean traditional color passed down over countless generations has surpassed both surpassed both time and space and continue today to breathe life into its people's everyday. In order to clarify the characteristics of Korean traditional color blue and red, we investigate the names of them and measured the color tones of textile remains in Chosun era. The characteristics of Korean traditional color blue and red have been surveyed by means of the examination of color names in many famous literatures in Chosun era. Korean terms for color tones were characterized by enormous variety of epithes crowned on them. The color names mentioned contain many unaccountable epithes which were characterized also deep colors and light colors were dominant in it. As a means of enhancing possibilities within limited colors, the commoners increased the names for varying tones of blue color group(32kinds) and red color group(40kinds). These "blue(indigo dyeing)' and 'red(safflower dyeing)' in Chosun era were shown very high frequency in use and the costume colors in Royal Court. With combination of these various blue and red colors they represented a thought of color based on Yinyang Theory and created a polished aesthetic taste. The color samples of textile remains in museum were measured and designated by Munsell color system and the ISCC-NBS color designation system. THe appeared rates were derived on Chosun era and features of colors using on the period were discussed. We aim to present specific recipes in indigo dyeing and safflower dyeing for using our apparel product and folk art.

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"A Study on Hebrews Clothing in the Old Testament" - Especially on Hair Styles, Headgears, Footwear and Personal Ornaments - (구약성서(舊約聖書)에 나타난 히브리인의 복식(服飾) - 두식(頭飾), 신발 및 장신구(裝身具) 중심(中心)으로 -)

  • Park, Chan-Boo
    • Journal of the Korean Society of Costume
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    • v.10
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    • pp.63-80
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    • 1986
  • The Old Testament cotains mention of the history of creation and clothing in ancient Hebrew. This study dealt with Hebrew dress customs especially aimed at the manners of their hair styles, headgears, footwear and personal ornaments. References are Korean Revised Version, English King James Version and Revised Standard Version. There is little mention of hair styles and headgears in the Old Testament. Some sort of turban was worn by priests, and soldiers protected themselves with helmets, but most Israelitish men went bareheaded except on special occasions and often wear simple headbands. It was more common for women to use headwear of some type-turbans, scarves, and veils concealing the face. The veil was the distinctive female wearing apparel. All females, with the exception of maidservants and women in a low condition of life, wore a veil. It was the custom for women to wear a veil entirely covering their head in the public. Through most of the Old Testament periods long and thick hair was admired on men and women alike. The Hebrews were proud to have thick and abundant long hair, and they gave much attention to the care of their hair. The caring of hair was deeply related to their rituals. Nazirites never took a razor to their hair during his vow-days, but instead let it grow long, as an offering to God. Men would not cut their beards, but allow them to grow long. The Israelites' standard footwear was a pair of simple leather sandals. This was one of the items of clothing not highly prized. In a colloquial saying of the time, a pair of shoes signified something of small value, and to be barefoot except in times of mourning or on holy place, was a sign either of extreme poverty or humiliation, as in the case of war prisoners. Because precious stones were not mined in the Palestine-Syria region, Hebrews imported them from foreign country. They were consumer-to a large degree limited by their very modest standard of living-but not producers. Hebrews liked the precious stones and were motivated to acquire and wear jewels. Besides their use for adornment and as gifts, the precious or semiprecious stones were regarded by Jews of property. The Hebrews were not innovators in the field of decorative arts. The prohibition of the Law against making any "graven image" precluded the development of painting, sculpture, and other forms of representational art. Jewish men did not indulge in extravagances of dress, and there was little ornamentation among them. Men wore a signet ring on their right hand or sometimes suspended by a cord or chain around the neck. The necklaces, when worn by a male, also bore any symbol of his authority. Bracelets were extremely popular with both men and women, men usually preferring to wear them on their upper arms. The girdle was a very useful part of a man's clothing. It was used as a waist belt, or used to fasten a man's sword to his body, or served as a pouch in which to keep money and other things. Men often carried a cane or staff, which would be ornamented at the top. Among the women there was more apt to be ornamentation than among the men. Hebrew women liked to deck themselves with jewels, and ornamentation of the bride were specially luxurious and numerous. They wore rings on their fingers or On toes, ankle rings, earrings, nosering, necklace, bracelets. Their shapes were of cresent, waterdrops, scarab, insect, animal or plant. Sometimes those were used as amulets. They were made of ceramics, gold, silver, bronze, iron, and various precious stones which were mostly imported from Egypt and Sinai peninsular. Hebrews were given many religious regulations by Moses Law on their hair, headgears, sandals and ornamentation. Their clothing were deeply related with their customs especially with their religions and rituals. Hebrew religion was of monotheism and of revealed religion. Their religious leaders, the prophets who was inspired by God might need such many religious regulations to lead the idol oriented people to God through them.

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A Study on the Liturgical Vestments of Catholic-With reference to the Liturgical Vestments Firm of Paderborn and kevelaer in Germany (카톨릭교 전례복에 관한 연구-독일 Paderborn 과 kevelaer의 전례복 회사를 중심으로)

  • Yang, Ri-Na
    • The Journal of Natural Sciences
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    • v.7
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    • pp.133-162
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    • 1995
  • Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.

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A Study on Traditional Costume of the Miaos, one of China's Minorities (중국(中國) 소수민족(少數民族)인 묘족(苗族)의 민족복식(民族服飾)에 관(關)한 연구(硏究))

  • Boo, Ae-Jin
    • Journal of Fashion Business
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    • v.2 no.1
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    • pp.71-75
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    • 1998
  • The Miaos who is the minority people mainly living in the southwestern part of China, expressed their indicator and solidarity through the costume in order to maintain their racial character while experiencing numerous adversities over thousands of years, where the costume has served as a source of cohesion as well as a primitive religious thought, and also showed their faith, desire, longing and aspiration. This study examined the Miao's traditional costume by classifying it into the following; hair style, headdress, upper and lower garments, and other costume. And the silver ornaments used for attire and their symbolic meaning were examined. The result of the study is summarized as follows. 1. The reason that types of the costume has been diversified is because there was promise of ancestors who intended to differently express the type of a kind as symbol of the racial branch that is the Miao's special type of society. Thus, the costume type could tell where a tribe live. Another reason is because only marriage between families with different surname but the same type of costume was accepted. 2. As women made and wore the costume themselves, it also served as a means of being proud of their skill or wealth, they tried to make it more beautiful and it was also used as a token of marriage or love between relatively enlightened men and women. 3. The design used on the costume was expressed as a symbolic meaning of indicator to strengthen the racial solidarity because it connoted worship to ancestors who had experienced lots of adversities. 4. The hair style was expressed in various styles by using Kache such as Chukye, Byunbal and Kokye. It is likely that ornaments used on the head of women in the form of cow's horn or silver crown were used as one of the methods to stress the valuableness of the cattle that were essential to agricultural life. In addition, various styles of turbans were used to indicate the respective regions. 5. Cock's feather ornaments or silver ornaments in the form of pheasant's feather on the edge of women's skirts, peasant's feathers that men wore on their head, or Baekjoui and men wore resulted from the Miaos' thought of adoration for birds, which implied a primitive religious meaning. 6. As the region where the Miaos live yields much silver, the silver ornaments were mostly used to be proud of wealth, which symbolized light and pureness.

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A Study on the Structural Characteristics of Ceremonial Costumes in New Aboriginal Religious Groups in Korea (한국(韓國) 개창(開創) 신흥종교(新興宗敎) 의예복식(儀禮服飾)의 구조적(構造的)인 특징(特徵)에 관(關)한 연구(硏究))

  • Kim, Hyun-Gyung;Im, Sang-Im
    • Korean Journal of Human Ecology
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    • v.13 no.1
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    • pp.185-194
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    • 2004
  • This study examined the characteristics of 45 sects of seven new aboriginal religious groups in Korea including Jeungsan sect, Tangun sect, Soowoon sect, Won Buddhism, Bongnam sect, Gahksedo sect, Shamanism sect that had given a considerable influence on the modem Korean society since the end of 19th century through the field study and the review of documents. The purpose of the study was to elucidate how their religious ideas were reflected in their ceremonial costumes and what characteristics these costumes had. The results were as follows: 1. The new religious groups in Korea modified or mixed the designs or the names of existing outfits to convey their ideas or beliefs through their costumes. 2. The costumes of new religious groups had common characteristics of the times, Korean tradition and ancestor worship. 3. All the ceremonial costumes symbolized the creeds and ideas of each religion in their names, designs, and colors. The names of the costumes such as Way-Robe, Law-Robe, and Ceremony-Robe, and of the headpieces such as Sky-Crown, Lotus-Crown, Ceremony-Crown, and Sevenfold-Crown, for instance, were related with Buddhism, Taoism, and Confucianism. The most common design of costume was consisted of traditional hanbok and some type of headpiece and robe for men, and hanbok modified to Western-style for women. Most sects adopted hanbok as their ceremonial costume, but they tend to simplify its design. The color scheme of the costumes reflected the influence of the Yul-Yang and Five Elements idea but the colors varied depending on seasons and occasions to suit their creeds and philosophy. 4. These religious costumes were worn at various ceremonies, ritual, and various anniversary services for the master and other dignitaries of the sect to render greater piety to those gatherings, to distinguish the sect from other religious groups, to clarify the meaning of the ceremony, and to heighten the devout feelings of the participants. Thus, the structure (the symbol, names, and types of the outfit, and their color scheme) and religious background of the costumes of the new aboriginal religious groups in Korea turned out to have inherited and mixed various elements of traditional Korean outfits and those of existing religions to symbolize their religious ideas.

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A Study on the African Image Expressed in 2005 S/S Collections (2005 S/S 컬렉션에 나타난 아프리카 이미지 연구)

  • Lee, Keum-Hee;Kim, Wan-Joo;Kim, So-Ra
    • 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.