• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.99-109
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• 2009

한 후란 중국의 전통 복장을 말하는 것이다. 한 장 (漢裝) 이라고도 하며 고대 복장이라고도 한다. 영어로는 silk robe라고도 한다. 한 후는 한 나라 이후 명나라까지 만주가 정복하기 전인 1644년까지 입혀졌던 중국의 전통복장이다. 최근 중국에서도 전통복장에 대한 새로운 모색이 일어나고 있다. 중국 전통복식으로 대표되는 치파오는 만주족의 한족 말살 정책의 일환으로 간소화시킨 복식이다. 따라서 중국 전통의복은 만주족에 의해 사양길을 가기 전 고대 한 조의 복식이 중국전통을 대표한다고 할 수 있다. 전통적인 한 후 스타일은 벨트를 매며 여밈이 있고 좁은 소매 혹은 넓은 소매가 특징이다. 한 족이 한 나라, 상 왕조, 송나라, 당나라때 입었던 한 후가 중국의 복식을 대표하는 복식이며 주나라의 쉔의는 튜닉과 스타일의 결합으로서 아직도 상류그룹이 입고 있다. 당나라에서는 동방의 문화와 혼합되어 화려하거나 사치스럽게 수정되었고 만주가 침범하여 한 후는 더 이상 전통복으로 입히지 못하였다. 한 후의 현대적 의미를 볼 때 역사적으로는 베트남에서 기모노에 이르기까지 그 원형을 볼 수 있고 한 후를 통해 중국전통 복식의 원류를 찾을 수 있다. 연구방법으로 문헌과 시각자료를 활용하였다. 한 후의 현대적 의미는 전통의 새로운 자각과 세계화 현대화의 노력이라 할 수 있다. 치파오로 규정된 중국복식에 반해 전통 한 후에 대한 올바른 인식과 활용은 세계화와 오리엔탈이미지에 녹아 있는 한 후 디자인 디테일을 통해 현대적 모색을 활용하고 있다. 충분한 시각 자료가 부족하지만 현대적 노력이 앞으로의 중국이미지의 재고를 가져올 것이다.

• Proceedings of the Plant Resources Society of Korea Conference
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• 2020.08a
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• pp.91-91
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• 2020

국내 복분자는 서양에서 유래한 서양복분자(Rubus occidentalis)와 국내 자생종을 개량한 토종복분자(Rubus coreauns)가 혼용되고 있으며, 전통 한방약재로서 미숙과를 중심으로 국내에서 유통되고 있는 복분자의 영양성분적인 특성과 주요성분인 ellagic acid 함량을 비교하였다. 토종복분자는 광양에서 재배되고 있는 복분자를 수집하였으며, 외래종 서양복분자는 고창에서 재배되고 있는 복분자를 수집하여 사용하였다. 나머지는 국내에서 유통되고 있는 국내산과 중국산 복분자를 경동약령시장과 금산약령시장으로부터 구매하여 사용하였다. 영양성분으로는 조지방, 조단백질 그리고 탄수화물 함량을 측정하였으며, 유리당, 지방산, 유리 아미노산 17종의 함량을 측정하였다. 조지방의 경우 토종복분자는 1.90 %, 서양복분자는 3.03 % 이였으며, 중국산 유통품은 2.28 %, 기타 국내산 유통품의 경우 2.89 %으로 중국산복분자의 조지방 함량이 낮은 것을 확인하였다. 그러나 탄수화물 함량의 경우 70.28~71.85 %로 복분자간의 함량에 큰 차이를 발견할 수 없었다. 유리당의 경우에는 토종복분자의 경우 glucose가 19.03 mg/g, fructose 16.29 mg/g이 측정되었고 고창 서양복분자의 경우 glucose가 16.29 mg/g, fructose 12.76 mg/g이 측정되어 유리당의 총 함량은 차이가 없는 것으로 확인되었으나 토종복분자의 경우 glucose의 함량이 조금 높은 것을 확인하였다. 복분자의 지방산 조성을 비교한 결과 고창 서양복분자에서 불포화지방산의 함량이 19.49 mg/g 으로 광양 토종복분자의 7.69 mg/g에 비하여 월등히 높은 것을 확인되었으며, 불포화지방산 중 linoleic acid (12.19 mg/g), oleic acid (1.88 mg/g)와 linolenic acid (5.43 mg/g) 함량이 높았다. 복분자의 아미노산의 함량은 광양 토종복분자의 경우 4.50 mg/g, 고창 서양복분자의 경우 5.05 mg/g으로 유리아미노산의 함량은 유사한 것으로 나타났다. 특히 아미노산 17종 성분 중 asparagine(0.65~0.84 mg/g), arginine(0.51~1.00 mg/g)과 threonine(0.99~1.63 mg/g)의 함량이 높았다. 지표성분으로 ellagic acid의 함량은 광양 토종복분자의 경우 2.56 mg/g, 고창의 서양복분자의 경우 3.16 mg/g으로 측정되어 서양복분자가 조금 높은 것으로 나타났다. 국내 유통되고 있는 중국산 복분자의 ellagic acid의 경우 2.99 mg/g, 기타 국내산 유통 복분자의 경우 2.83 mg/g으로 광양 토종복분자와 유사한 것으로 나타났다. 위의 연구결과는 국내에서 유통되는 토종 및 서양 복분자를 원료로 하는 기능성식품에 대한 제품개발의 기초자료로서 활용 될 수 있을 것으로 기대한다.

• Journal of Digital Convergence
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• v.11 no.10
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• pp.669-677
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• 2013

Traditional Chinese Boardgame as the Chinese national traditional culture has experienced thousands of years. But the rules of the game did not change. Since today, the game mainly concentrated in the old age. In recent years also born some Chinese chess improvement scheme, they changed chessboard shape, the user number, chess rules and so on, but did not pop up. This paper is the development of the Chinese chess, improvement plan to do a survey, and with the game interesting elements as the center is analyzed.

• The Research Journal of the Costume Culture
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• v.16 no.4
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• pp.661-680
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• 2008

The purpose of this study is to examine to change in the Chinese women's clothing according to the inflow of Western culture in the first half of the both century As for the research method, both literature and visual data are reviewed. Research results are as follows: The Step of transition in clothing by period followed beginning stage, adopted stage, early developed stage, fully developed stage, and static stage. fully developed stage showed a perfect compromise while being applied to Chinese costume with being introduced a three-dimensional cutting method of western clothing even to the constitution as well as to the appearance. Design elements from western clothing are as follows. The transition of silhouette is box silhouette, trapeze silhouette, shift silhouette, and fitted silhouette. In detail and trimming, tailored, band, convertible, shirts collar and zigzag, scallop, camisole neckline and puff, cap sleeve and flounced, bell shaped cuffs and western button, zipper, etc. are adopted. Finally, the Chinese modern style are formed by accepting and transforming the western clothing based on the traditional Chinese clothing.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.63-78
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• 2020

Korean Chinese, immigrants to China, have developed their own traditional costume culture. This paper aims to analyze the traditional costume culture of the Korean Chinese and to provide data for posterity. The research methods are literature research, survey research, and analysis research. The results are as follows: According to the changes over generations, the top of women's Hanbok has changed in length as has the jeogori (jacket), the git (collar), and the gooreum (breast-tie). The width of the git, dong-jeong (thin white cloth-covered paper collar of Hanbok), the sleeve, and gooreum have also changed. The git and the barae (the curve part of the sleeve) have changed from straight patterns to curves. The skirt had changed in wrinkles arrangement, length, and silhouette. The men's Hanbok jeogori and sleeves were lengthened; the pants became wider and were lengthened, and the collar also became curved. The vest has not changed and the du-ru-ma-gi (coat) that once disappeared is being worn again; the bae-ja (vest) and magoja (over-jacket) are worn frequently in modern times. The garments mainly used natural fiber until the development of synthetic fibers, but the treand has been the use of luxurious natural fibers in modern times. The initial color pattern was achromatic, but that changed with the appearance of synthetic fibers, and nowadays it is mainly the garmetnt can display a variety of colors. In addition, hairstyles and shoes have been eveolved from traditional to modern styles.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.332-344
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• 2019

Based on the life of the furniture is to reflect a region and the important basis of ideological and cultural characteristics of The Times culture form the traditional concept of directly determine the style and features of furniture. Due to the geographical location, China and the Korean peninsula have a long history of cultural exchanges. Through long-term exchanges, Chinese traditional culture has penetrated into the daily life of the ancestors of the Korean peninsula in various ways. As one of the traditional Chinese cultures, Taoism began to spread in The Three Kingdoms period on the Korean peninsula. With the integration and development of Taoism on the Korean peninsula, Taoism culture with unique characteristics of the peninsula was formed and became part of the traditional ideological and cultural life of the ancestors on the peninsula. In the historical development of furniture on the Korean peninsula, Taoist theories such as yin-yang theory and five-element theory and geomantic geography theory have exerted an important influence on the use, shape, material and pattern of traditional furniture on the Korean peninsula. The late period of the joseon dynasty was the heyday of the handicraft industry on the Korean peninsula. During this period, the categories of furniture increased, and a large number of furniture with distinctive Taoist characteristics, beautiful shape, excellent design and different uses appeared. Through the study on the modeling, materials, patterns, seals and designs of furniture in the late period of joseon dynasty, this study confirms that Taoist thoughts are one of the main factors affecting the development of Korean traditional furniture forms and patterns. Using patterns of various natural objects or plants and animals for furniture design, it is to pray for family members to avoid disasters and disasters. Thus it can be seen that praying for blessings from heaven is the main Taoist thought.

• Journal of Astronomy and Space Sciences
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• v.26 no.3
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• pp.375-402
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• 2009

Korean historical constellations and their names are similar to Chinese ones. Although Korean historical astronomy is influenced by China, they have distinct differences in each shape and names of the constellations. We, therefore, compare Bocheonga (步天歌) of the early Joseon dynasty (朝鮮, $1392{\sim}1910$) preserved in Gyujanggark (奎章閣) with that of the Sui dynasty ((隋代, $581{\sim}618$ of China written by Wang Ximing(王希明) in terms of star charts and descriptions of the contents. We find out that the two books are partly different all over the books. First, there are definite differences in preface, three area of constellations (三垣) in the heaven, and the description of the Milky Way. Second, some of constellations show different in shape, the number of stars. Especially connecting pattern in some constellations shows different in each other. Third, Joseon Bocheonga describes their colors for some stars. These mean that Joseon has a unique tradition of star maps unlike Chinese one. We also summarize the differences and distinctive characteristics of Joseon star charts compared with Chinese ones.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.31-46
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• 2017

The purpose of this study is to analyse the occurrence and evolution of Mao suit which is important position in the modern costume history of China and to provide a source of design inspiration to contemporary fashion designers. In the research method, literature review and case studies was conducted in parallel. For the literature review, changes of Mao suit in each age were reviewed with reference to the related documents, Chinese costume and cultural history, prior research papers and internet resources. The case analysis was qualitatively done focusing on the silhouette, color and detail of clothes in fashion collections. The scope of the study was from 1912 to 2000. The case analysis of the Mao suit applied to the contemporary fashion was made on the applications centered around 'London Collection', 'New York Collection', 'Paris Collection', 'Milan Collection' and 'Chinese Fashion Week' from 2008 to 2015. The results found that Mao suit changed into many different forms after Sun Wen designed it for the first time in 1912. This study classified it into Phase 1(1912~1927), Phase 2(1928~1965), Phase 3(1966~1977), and Phase 4(1978~2000) with historical and political issues and conformational changes in Mao suit. The frequency analysis of the cases of the fashion collections using Mao suit from 2008 to 2015 showed an increased application of Mao suit to the western collection in New York, Paris and London in 2008 due to the impact of Beijing Olympics. However, from 2009 onwards, the frequency of the utilization of Mao suit was higher in the Chinese Fashion Week and the New York Collection. This cause is explained by the fact that the designers who inspired from Mao suit in the New York Collection are American Chinese.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2019.05a
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• pp.232-235
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• 2019

In recent years, Japanese style Chinese Moe-tic Ship personification games have enjoyed success in Korean game market - starting from 'Girl's Frontier' in 2017 to recent 'Azur Lane' in 2018. Their 'all female' characters have overly sexual appearance thus young male adults/adolescents are main consumers of the genre. In this paper, we investigate all 300+ character skins of the game 'Azur Lane' on how much their character illustrates have sexual exposure of the female body for the sexism and how their standard attire have different patterns with respect to the affiliated nationalities. We report that the sexual exposure is highly related to the payable skins including swim suits and there exists some sexual stereotype in characters' attire. Japanese and Chinese characters emphasize their traditional Chipao and Kimono. Japanese also wore school uniforms. German characters wore uniforms the most and many British characters wore maiden uniform. Although this game is classified as adult game, its overly sexualized female characters are harmful for young adults to cause sexual objectification of females.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.11
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• pp.7485-7493
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• 2015

With the popularity of Korean Wave, making cultural goods specific for Hallyu tourists is getting more important. However, there are mainly daily life goods using celebrity character-based ones. Remarkably, there are only a few cultural goods especially in practicality-based clothing category. In particular, few cultural goods related to children's wear have been developed. Therefore, if children's wear is developed as Korean Wave cultural goods considering Chinese consumers' pattern and Korean Wave cultural goods, it will be helpful for revitalizing the Korean Wave and Korea's fashion market. In this regard, the purpose of this study is to develop children's wear design as Korean Wave cultural goods, thereby presenting empirical research results and fulfilling its following objectives: First, it is to identify the concept of Korean Wave cultural goods, to analyze the current status to finally establish data to develop Korean Wave cultural goods needed at this time. Second, it is to make real-life size works through development of designs to provide the empirical data for Korean Wave cultural goods market. For the research method and contents the review of the previous research, in-depth interview for qualitative research, and empirical research using market research and development of work were performed. Through the final research outcomes, Korean Wave cultural goods, the children's wear that can meet the consumer's needs were presented as empirical data. The study can be used as basic data for domestic fashion market and cultural product market and it is meaningful as a reference for the analysis on the Chinese consumers' needs.