• Korean Journal of Heritage: History & Science
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• v.37
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• pp.243-266
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• 2004

This paper is based on fieldwork conducted from July 6, 2003 to July 24 of 2003 among the Tungusgroups Hezhe, Daur, Oloqun, Owenke, and Mongolian in the areas of Heilongjiang and Inner Mongolia Provinces. Recognizing the need for more in-depth study among these groups, the present research shows that the Tungus people are archeologically, historically, and linguistically different from Korean Han ethnic group and challenges the link between Korean and Tungus groups since the Bronze Age. The comparison between the "House Spirit" belief of the Tungus people and Koreans reveals certain commonalities in the "Maru," "Kitchen," and "Samshin Spirit" practices. There are two possible reasons for such commonalities. Historically, the Korean Han ethnic group and the Tungus people were geographically intimate, and contact or transmission between the two groups occurred naturally. Also, immigration of refugees from the fallen Koguryo and Puyo to the Tungus region added another dimension of cultural contact. In contrast to the common features shared between the two groups, there also exists differences between the two groups House Spirit blief. The Korean Han group's "House Spirit" belief is based on the agricultural practices that separates the inside sacred and outside secular world of the houses, whereas the Tungus ethnic group's "House Spirit" belief is based on mobile herding life style with a less distinction between in and outside of house. Additionally, each Korean "House Spirit" has its own distinctive personality, and each spirit is placed and worshipped according to its function. In the Tungus group, all the "House Spirits" are located and worshipped in "malu," and some of the spirits are non-conventional house spirits. Moreover, Korean "House Spirits" form a kinship structure, placing Songju, the highest spirit, at the center. In the Tungus practice, such structure is not found. The tight cohesive family formation among the house spirits in the Korean "House Spirit" belief is also the most distinctive feature in its comparison with Chinese belief. In China, the highest spirit is Jiang Taigong or Qiwu, and the house spirits do not have kinship relations. Korean's Outhouse Spirit and Chowangshin are related to the Han Chinese's counterpart on certain levels? however, their basic structures are different. It is clear that the correlation of "Malu" "Chowangshin" and "Samshin" between Korea and Tungus indicate important role of Tungus cultural elements within Korea's "House Spirit" belief.

• Korea journal of population studies
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• v.26 no.2
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• pp.111-145
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• 2003

This paper attempts to explore recent socio-demographic changes of the ethnic Korean population in Yanbian autonomous prefecture. Due to rapid decrease in the level of fertility and population ageing, Korean minority society in China has been in a process of profound transition after the introduction of the market economy and establishment of diplomatic relations between South Korea and China. The changes in demographic behaviors and in the structure of population appear to be much faster among Koreans than Hans. Results from the 2000 population census reveal that the Korean population in Yanbian, where ethnic Koreans are most densely populated in China, has been in a decreasing trends in absolute numbers and in its proportion to the total population. The growing tendency of regional mobility for work and for marriage, rapid expansion of residential areas, serious crisis of ethnic schools of Korean community, and weakening social integration and ethnic identification of Koreans in Yanbian are discussed in this study. It is expected that socio-demographic transition of Korean society in Yanbian will be even more drastic over the coming decades. The rapid changes in demographic behaviors and in the structure of population has major consequences and implications for every sphere of human life, and will present enormous challenges for the status of Korean minority society in China. Along with various statistical data on Yanbian, micro-level data as well as published reports from the 1990 Chinese population census for Yanbian and the 2000 Chinese population census are analyzed in this study. In addition to sex ratios and age ratios, various indices are calculated to analyze the characteristics and accuracy of the data from the 1990 and 2000 population censuses of China.

• Food Industry
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• s.246
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• pp.8-11
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• 2015

정식명칭은 베트남 사회주의공화국(Socialist Republic of Vietnam)이다. 북쪽은 중국과, 서쪽은 라오스 및 캄보디아와 접하고 동쪽은 바다를 면하고 있다. 남북으로 긴 해안선은 무려 3,444Km에 달한다. 면적은 33만 $1,210km^2$, 인구는 9,200만 명, 수도는 하노이(Hanoi)이다. 주민은 베트남인이 90% 이상을 차지하고 있으며, 그 밖에 중국인과 53개의 소수민족으로 구성되어 있다. 공용어는 베트남어이며, 종교는 불교가 80％, 가톨릭교가 9％ 등이다. 행정구역은 하노이, 호찌민, 다낭, 하이퐁, 껀터의 5개 직할시(centrally administered city)와 59개의 성(省)으로 이루어져 있다.

• Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
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• 2007.11a
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• pp.1-5
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• 2007

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.41-57
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• 2010

Yunnan, where twenty-six minor ethnics live, is located in Southwest part of China. They have preserved and developed their folk costume, artcraft, music and dance in their peculiar way with natural and cultural surroundings. So, Yunnan is known as a living folk museum. It's worth examining how climate and circumstances change has affected certain differences of dress shape in same ethnic. Research into costumes of minor ethnics can contribute to the study of origin of the trousers, as this group of people have well succeeded the basic form of trousers through their cultural history and everyday life. This study, at first, investigates geographical surroundings of each minor ethnic group, and figures out the style of all trousers by measuring the each size, then compares design color pattern and fabric. The origin of trousers examined by formative characteristics has been classified and comparatively studied. The study materials are twenty-three trousers selected from in Yunnan Folk Museum as well as other relevant literature records. This study suggests that one can examine the type of human culture through the forms of costume which reflects folk custom geography economy etc. This, in turn, can be used as a basic information for other studies, and in particular, for the study of origin and structure of the trousers.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.377-381
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• 2008

Chinease-Korean Cultural Map, which is an electronic cultural map that shows Chinese-Korean culture on maps, is planned as the first step to development Asian Electronic Cultural Map. Chinese-Korean have their unique cultural characteristics same as other small tribes. Small tribes shows same typical cultural characteristics of Asian, and that characteristics are very important factors for understanding the whole Asian culture. This paper proposes a logical and standardized development methodology for construction of Electronic Cultural Map. The methodology consists of 6 steps; information analysis, keyword extraction, keyword clustering, map element extraction, prototype design, and map development. We used and evaluated the methodology during prototype design and development steps for the optimal functions. To generate the base maps for Chinese-Korean Cultural Map, we use Google Earth and KML(Keyhole Markup Language) for standardized and easy development.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.167-180
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• 2020

The purpose of this study is to present the use of traditional culture and the direction of various fashion designs by developing and producing contemporary fashion designs on the Muslim costumes of the Chinese Hui minority. Based on research methods, the cultural background was investigated and the design characteristics were summarized. Based on the results of this survey, 4 sets of women's fashion were designed. The design intent was to feature Muslim traditional costumes and to adopt a functional contemporary design. The conclusions of this study are as follows. First, simple and indecisive clothing shows the innocent and good side of the congregation. In this study, traditional dresses were used to make use of the simple silhouette and color, and to create a contemporary atmosphere, various materials, such as wool, glossy industrial complex, lace, and fur were used to create a modern sense design by adding diversity to the simple silhouette. Second, the biggest feature of the regimented Muslim costume focuses on a head cover and suggests a contemporary sense of hood improvement, and a design that can be used with two sides. These hooded head covers can provide fashion and diversity and can be proposed as functional. Third, contemporary Muslim fashion is gaining global attention and it is possible to develop various fashion designs based on traditional motifs. This study was able to increase the feminine image by changing the solemnity of the communal dress without discarding the foundation of the traditional religious culture based on the daily dress of the people.

• Journal of architectural history
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• v.14 no.1 s.41
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• pp.135-150
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• 2005

Historical study of Korean traditional houses have been carried, mainly, based on the geographical region of Korean peninsula. However, the case of primitive houses can not be researched according to the geographical and racial concept of modern nations. This study aims to examine the primitive houses of ethnic minorities of northeastern China, where the cultural and racial background have been deeply rooted in the history of Korea as well as Korean traditional houses. Through the field research and literary materials, the basic types of primitive houses of the five ethnic minorities could be identified. Among these types, those that have possible relationship with Korean houses, are cone shaped house, underground house, and elevated wooden house. Archeological evidences of underground houses were amply found in Korea already, but above ground evidences could not be found. However, It seems quite certain that the cone shaped houses and elevated wooden houses, too, existed in Korea as one of the earliest housing types, as can be examined in remaining examples in Korean peninsula. With no doubt, the primitive houses of Korea have strong connection with that of the ethnic minorities of northeastern China. This can be verified through the facts that the evidences of cone shaped houses, the similarities of the use of Inner space, the evidences of elevated wooden houses. Also, the combination of wooden floor and ondol, which is known to be one of the strongest characteristic of Korean traditional houses, could be originated from the combination of primitive summer house, the elevated wooden house, and the winter house, the underground house with ondol.

• The Research Journal of the Costume Culture
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• v.28 no.3
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• pp.356-375
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• 2020

The purpose of this study is to understand the characteristics and cultural values of the headdress among Chinese minorities with diverse ethnic cultures, and to provide various data on the design of clothing accessories. Theoretical considerations about ethnic minorities were addressed through literature and prior research, with data being collected using literature and websites. The results are as follows. First, the most common type of headdress is the horizontal type, which includes the head style, headband, and head scarf. The second most common is the cylinder type, which is a headdress with variations in the shape of a round hat, and has is evident among various minorities. Third, the pagoda type is decorated with ornaments mounted on top of a round shape. Fourth, the square crown type is a piece of wood as a material for a form of the material and for a variety of jewelry and the production of up to meet the women's head of the jewelry. Fifth, head belt-type ornaments consist of a headband and fancy bead ornaments from the bottom of the head. Mongol women usually wear an exaggerated form of this type. Sixth, the head cover type is a head decoration influenced by the dress code of Muslim women. Seventh is the disc type of crown shape worn by the Dai. Next, the ogival type is a cone-shaped headdress hat most commonly seen as head ornament hat among the Dai. Lastly, the sailboat type is the most exaggerated form of hair ornaments found among ethnic minorities.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.23-42
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• 2021

The purpose of this study is to analyze the characteristics of the Chinese Miao people's Batik patterns and provide data in the field of fashion design for the utilization of the traditional patterns. This study investigated and analyzed the regional characteristics of Batik dyeing, which was listed on China's national intangible cultural heritage list; Danzhai, Anshun, Huangping, and Gonghyeon. The expressive characteristics were classified into four categories: symbolism, abstraction, decorativeness, and playfulness. The results are as follows. First, symbolism can be classified into the origins of the Miao, symbols of faith, history of migration, and the symbols of status with Batik patterns from different regions, seemingly involving various symbolic implications. Due to the absence of letters, Miao people expressed their emotions and history in the design patterns. A series of developments in recent years has led to incorporating the temperament of the Miao people, history of migration, expression of emotions, and ideal hopes in Batik dyed design patterns and the symbolic functions have been significantly emphasized. Second, the decorativeness is mainly characterized by repeated patterns of the Miao Batik dyeing design. The overall patterns demonstrate design features characterized by regularization and simplification, along with a sense of rhythm with the unique arrangement of patterns. Third, the abstractness of the Batik dyeing design patterns is often found in plant and animal patterns, properly delivering new designs created by Miao women by extracting and rearranging various elements, including dots, lines, and faces shown in natural images. Fourth, playfulness is expressed by the transformation and distortion of Miao Batik patterns, and were created by applying patterns or other elements to original forms to express animal or plant patterns in a playful way.