• 패션비즈니스
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• 제15권5호
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• pp.69-86
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• 2011

The objective of this research is to unveil the dynamic changes of the trends in wedding dresses during the 20th Century. The studies were carried out in two forms; firstly by observing the actual wedding dresses worn by people at that time, and secondly by conducting formative comparisons between those dresses with the ones appeared in movies corresponding to that period. Movies provide an invaluable insight into the era's wedding dresses fashion trends since they function as intimate bridges in connection with the time's audience, and the visible imageries accurately reflect the characteristics embedded within that time frame. As there are no precedent studies regarding this topic, this thesis can serve as vital research data for the wedding dress industry. Research data regarding the actual wedding dresses were collected from books and museum web sites. The object of movies were films produced before World War II that contained both the background settings of the 20th Century and wedding dresses, of which photographic imageries were captured. Research analysis was then conducted by merging these data with findings from relevant books and internet materials. The results of the thesis are as the following: The 1900s was an extension of the 19th Century's popular fashion trend which can be characterized as the S curve silhouettes of the Edwardian period when long trains and long veils symbolized wealth and social power. In the 1910s, high waist silhouettes with soft wrinkles were prevalent as attire suitable for active mobility with practical functionality were highly regarded. During the 1920s, the flapper style became the dominant trend. Hem lines of the skirts were curled in the form of the scallop and laces were the most widely used raw materials. By the 1930s, wedding dresses that reinterpreted the glamorous sheath lines, practical two piece styles, and retro-styles became predominant. The 1940s saw the advent of ready-made wedding dresses made of synthesized materials; practical military style suits and casuals sometimes substituted the wedding dresses. And although the wedding dresses in the movies were primarily costumes to express the personalities of the characters, they were also reinterpreted as manifestations of the formative characteristics of each relative period that pursued very distinct and diverse features.

• 복식
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• 제15권
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• pp.177-194
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• 1990

Koh(袴) was a type of dress worn on the lower part of the body which was commonly used in the Northeast Asia. It was originally used by the Northern race for the need of nomadism or hunting. The origin of the Koh which appeared in the area would be found from the trousers of the Huns who influenced in the Northeast Asia, and became in the part of the Scythian culture. The Scythians are the nomadizing race inhabited in the Northern Caucasas on the wast of the Black Sea and influenced on the inland Eurasian steppe as the first typical horse-riding race. The objectives of Koh which had been worn in the Scythian, Mongolia, Korea as well as Japan as a part of Dongho dress and ornaments and to contemplate the transmission process by cultural exchange among different races for the period from 4th century to 7th century. 1. The Origination of the Koh The Koh was originated by the environmental factor to protect the cold in the North but also from the heat in the South, and was changed and developed as gradually satisfying to the needs of the times. In the Northeast Asia the Koh was in the class of the Northern Chinese garment, and was used widely by the horse riding Scythians who moved widely from the Eurasian inland to Japan. The oldest original which could reflect the type of the Northern clothes was a pair of trousers discovered in the Huns remains of Noin Ula. This showed the exact form of hunting clothes and had a similar form with the Korean female tro-users. Since the same form of trousers drawn on the wall painting of which was excavated 4-5th century ancient Koguryo(高句麗) tomb was the same form the trousers of Noin Ula seemed to be the original form of Koh in the Northeast Asia. 2. The Chinese Trousers It was the time of the King Mooryung(武靈王) in the Cho(趙) Dynasty B.C. 3th century that the trousers used regularly in China. However, the Koh had been used as undergarment which functioned for the protection of the cold not the horseriding garment. The trousers seemed to be not very obviously shown off since the Poh (袍) was long, but mainly used by the people from lower class. As people learned the adapted the trousers. It was essential for the times of war and quarrel. The king himself started wearing the Koh. The Chinese trousers were influenced by the Huns, the Northern clothes of the Scythian culture, and similar to the Korean clothes. 3. The Korean Trousers Korean was a race bared from the Eastern foreign group. It was obvious that the clothes was Baji-Jeogori(바지 저고리), the garment of the Northern people. This had the same form of the Scythian dress and ornaments which was excavated from the Mongolian Noin Ula. The Scythian dress and ornaments were influenced from the Ancient West Asia Empire and transmitted to the Northeast Koguryu by the horseriding Scythian. The trousers were kept in the traditional style by the common people in Korea were transmitted to Japan which were for behind in cultural aspect, as well as got used to the Chinese as the efficient clothes though active cultural exchange. 4. The Japanese Trousers The ancient Japanese clothes were influenced by the Southern factor but not the form of the Koh. As the Korean people group was moving towards Japan and conquer the Japanese in the 4-5th century, however, North Altaic culture was formed and at the same time the clothes were also developed. The most influenced clothes at this time were those of Baekge(百濟) and the trousers form called Euigon became the main form. Because of the climatic regional factor, it was tied not at the ankle but under the knee. From the view the ancient Japanese clothes disappeard about that time, it could be due to the conquest of the culturally superior race but not the transmission of the culture. In the latest 7th century both the Chinese and Japanese dress forms were present, but the Dongho(東胡) dress and its ornament from Korea was still the basic of the Japanese dress form.

• 복식
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• 제65권3호
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• pp.15-27
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• 2015

This study is the first research that examines the fashion manufacturers and merchants of the late 18th century France. Fashion specialists, (known as) Marchande de modes, started to appear in literature in the mid 18thcenturyandthe profession was officially recognized by the guild system in 1776. Rose Bertin was elected as the first representative. At the same time, there were two types of fashion specialists, tailleur and couturi${\grave{e}}$re. Tailleur had monopolized the production of the bodice and the skirt, which were the most important female dress parts. On the contrary, couturi${\grave{e}}$re only had the right to make petticoats, but they were not allowed to decorate it. In 1781, the couturi${\grave{e}}$re obtained the right to make and decorate the other parts of the dress, and this resulted in the two groups fighting over the rights to make dresses. And during this struggle, the Marchand de modes started to appear as a new occupation. Marchande de modes were privileged fashion merchants making or selling trimmings for dress and coiffure, and had authority to make capes and bonnets. Contemporary critics praised their talents for creating innovative and beautiful fashion styles, while some criticized them as women who just made luxury items. These records revealed how marchande de modes were viewed during that time.

• 한국제4기학회지
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• 제15권1호
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• pp.47-52
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• 2001

설악산 백담산장 (해발고 400m) 지역에서 자라는 소나무를 이용하여 141년 (A.D. 1858∼1998)간의 나무나이테(연륜) 연대기를 작성하여 4월∼8월 총강수량을 복원하였다. 복원한 결과 1880∼1887년, 1893∼1901년, 1922∼1938년은 건조기로 나타났으며, 1906∼1918년은 습윤기로 나타났다. 장기간 변동으로 보았을 때, 19세기말과 20세기초는 20세기 후반기보다 건조하였다. 전기간에 걸친 가뭄주기는 4.14년과 3.16년으로 분석되어 장주기보다 단주기 변화가 우세하였다.

• 한국식생활문화학회지
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• 제37권1호
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• pp.26-38
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• 2022

This study used the big data method to analyze the chronological frequency of seafood appearance and variety mentioned by the veritable records of the Joseon dynasty. The findings will be used as a basis for Joseon Period's food cultural research. The web-crawling method was used to digitally scrap from the veritable records of the Joseon dynasty of Joseon's first to the twenty-seventh king. A total of 9,536 cases indicated the appearance of seafood out of the 384,582 articles. Seafood were termed "seafood" as a collective noun 107 times (1.12%), 27 types of fish 8,372 times (87.79%), 3 types of mollusca (1.28%), 18 types of shellfish 213 times (2.23%), 6 types of crustacean 188 times (1.97%), 9 types of seaweed 534 times (5.60%). Fish appeared most frequently out of all the recorded seafood. Sea fish appeared more frequently than the freshwater fish. Kings that showed the most Strong Interest Inventory (SII) were: Sungjong from the 15^thcentury, Sehjo from the 15^th, Youngjo from the 18^th, Sehjong from the 15^th, and Jungjo from the 18^th respectively. Kings of Chosen were most interested in seafood in the 15^th and 18^th centuries.

• 복식문화연구
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• 제32권3호
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• pp.398-418
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• 2024

This study aims to examine how the body and clothing of Jesus Christ are represented in the Russian Transfiguration of Christ icons of the 15th and 16th centuries and why it is considered to have established a distinct Russian iconography free from Byzantine influence. The study analyzes the Russian icons comparing them with their Byzantine prototypes to identify the distinctive 'Russianness' of the representation. The research methods comprise a qualitative analysis of the literature on Russian Orthodoxy, Russian icons, Christian theology, and Christ's clothing and an empirical analysis of the icons. The scope of the study is limited to Russian icons from the 15th and 16th centuries and Byzantine icons from the 9th century onwards. The study found that, compared to Byzantine icons, the Russian icons exhibit a more elongated body, darker facial features, and lighter clothing. A statistical analysis using the Mann-Whitney U test further revealed that the Russian icons feature a stiffer, simpler form, more opaque material, and more defined clothing boundaries. These stylistic differences suggest that the 'Russianness' in the expression of Christ's body and clothing in the Transfiguration of Christ icons derives from creativity, abstractness, and tradition. Rather than a simple recreation of the historical Christ or adherence to the Byzantine tradition, the Russian iconographic representation emphasizes Christ's transfiguration into a luminous form, as described in the Bible, accentuating his divine nature over his human aspects.

• Communications for Statistical Applications and Methods
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• 제15권5호
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• pp.737-752
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• 2008

오차에 대한 분석은 18세기 천문학과 측지학에서 시작된 뒤, 19세기 초 가우스와 라플라스에 의해 정규분포 및 최소제곱법과 결합되면서 오차이론이라고 불리기 시작하였다. 19세기 중엽 벨기에의 케틀레는 자연과학의 관측결과를 분석하는데 쓰이던 오차이론을 사회 데이터에 적용함으로써 사회 연구를 보다 더 과학적인 연구로 만들어보려 하였다. 그는 사회데이터에서 개인의 특수성을 배제하고 집단의 보편적인 사실만을 나타내는 '평균적인 사람'이라는 개념을 만들었다. 또 그는 비슷한 조건에 있는 여러 사람을 측정한 결과는 단일한 대상을 반복측정한 결과와 마찬가지라고 보고, 천문학의 오차이론을 사회데이터에 적용하였다. 이 논문에서는 오차와 정규분포가 사회 연구에 도입되면서 새로이 나타난 개인과 집단의 관계를 비롯하여 오차이론에 대한 반대 의견들, 오차를 대신하여 나타난 용어 등을 중심으로 19세기 중반에 통계학의 영역이 확대되는 과정을 살펴보았다.

• 한국실내디자인학회논문집
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• 제20권1호
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• pp.199-207
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• 2011

After the development of printing technology since the 15th century and the rise of citizen consciousness in the 18th century, the library has taken a public concept. And after the 20th century, its role as a public library for the public was stressed, and as its spatial composition became miniaturized and specialized, its function changed from stacking and reading to various kinds including culture and service and is getting more complex beside the function of a library. Thereupon, this study aims to figure out the limitations of public libraries' opening years shown in advanced researches and understand the current status of spatial composition by complexation with the subjects of five public libraries opened after the end of December, 2006 in order to examine their tendencies of complexation and the characteristics of spatial composition by the complexation of public libraries. As a result, the present public libraries have at leaser more than two spaces with complex functions. According to the result of analysis on the types, locational relations between spaces showed the mixed type the most. In the types of building allocation, the building integrated type had a higher percentage than the separated type. About the types of entrance, the one common door type was fewer than the two separate door type. In the analysis on the types of the interior line of flow, the common type was similar to the dispersed type, and it is thought to be resulted from spatial composition rather than the preplanned line of flow.

• 대한한의학원전학회지
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• 제33권2호
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• pp.33-49
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• 2020

Objectives : While the original version of 『Eoyakwonbang』 does not exist, its contents have been introduced in several studies. The existing editions are the Joseon versions 『SinganHyeminEoyakwonbang』(Eulhaeja edition) and 『GyesaSinganHyeminEoyakwonbang』(Gapjinja edition), and a Japanese version, 『GyesaSinganHyeminEoyakwonbang』(Gwanjeong edition). In a recent research, it has been discovered that there is a fourth edition of the book, 『SinganHyeminEoyakwonbang』(Jeonggadang edition), in the Japanese Parliament Library collection. Methods : Contents of the chapter on pediatric diseases were compared among the four editions to clarify their relation with each other. Results : Based on the organization of the chapter, formula names in the list and body, explanatory methods of the formulas, application, formula construction and methods of application, we found that there were great similarities between Eulhaeja edition and Jeonggadang edition, and between Gapjinja edition and Gwanjeong edition. Conclusions : 1. Jeonggadang edition is similar to Eulhaeja edition in contents and form. 2. Although the exact publication date of Jeonggadang edition is unknown, based on the fact that it was mostly circulated in the Qing period, it can be assumed to have been published after the Eulhaeja edition which was published in the 15th century. 3. Gapjinja edition was published in the 16th century and shares little similarity in form, organization and contents with Eulhaeja edition, indicating that a different version was used as the original script. 4. Gwanjeong edition was published in the 18th century, and is very similar in form, organization and contents with Gapjinja edition, repeating the same errors made in the Gapjinja edition. This indicate that Gapjinja edition was the mother script of Gwanjeong edition.

• 수완나부미
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• 제1권2호
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• pp.1-20
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• 2009

This research tries to review the history and concepts of Thai temple mural painting. According to the research results, the history of Thai mural painting dates back to the late 14th century when Wat Chedi Chet Taeo in Si Satchanalai was built. The Sinhalese elements embedded in the Sukhothai murals are also found in the Ayuthayan stupa murals made in the early 15th century. The mid 18th century's Burmese invasion into Ayuthaya destroyed most of Buddhist temples in the Kingdom of Ayuthaya and as a result, Buddhist murals of the late Ayuthayan age are hardly found except for some temple murals located outside of the capital. The late Ayuthayan murals are much different from the early Ayuthayan murals in that they are narrative in depicting Jataka and the life of Lord Buddha. This classical mural painting culminated in the age of Rama III of Bangkok Dynasty. His successor Rama IV undertook westernized reforms which influenced the area of traditional mural painting. Consequently, new western style Buddhist mural paintings were produced while themes of mural painting were enlarged to the other subjects such as historical recording of royal and social events. This trend continued in the age of Rama V but the development of Thai Buddhist mural painting discontinued after the death of Rama V due to the rapid westernization and decrease of illiteracy. The existing Buddhist murals produced on or before the reign of Rama V are deteriorating and disappearing. The reasons for this are partly because of Thailand's humid climate. However, some social backgrounds such as the lack of concern for preserving old Buddhist murals can not be disregarded. Considering the substantial value of Thai Buddhist murals as a cultural resource in Thai society, it is very urgent to establish appropriate conservation policy for them.