• The Journal of Art Theory & Practice
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• no.16
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• pp.7-40
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• 2013

Historian Eric J. Hobsbawm once said "the task that historians have is to analyze the meanings of the past within the context of society and to track the changes and implementation." It would not be too far of a stretch to apply Hobsbawm's quote to art historian since art history, although quite specific, is still history. In addition, Hobsbaum also asserted that, "a mold called the past continuously forms the present or at least thought to be." It is my recognition that the major westernization of the last century took place under the Japanese colonization which served as the channel to usher in western art; however, the current 20thcentury Korean art history fails to recognize that the mold of the past, namely western art in this case, has formed the modern art of the present. Based on this recognition, attention was given to what lacked in the analysis of the current 20th-century Korean art history in terms of "Informel" which was identified as the turning point towards "modern art" in the Korean art history as well as the following "experimental art." My belief is that the art history of Korea has to be reassessed from, a socio-cultural perspective as well as adopting multi-level and diachronic understanding. However, the existing Korean art, especially the one between the end of 1950s to the 1970s was based on the perspective of "severance"; thus, raising the needs for the starting point of a new perspective. It is my conviction that meta perspective on writing is most essential in order to lay a solid basis for the Korean art scene to have a productive discussion. I feel the utmost necessity to reinterpret the typified history analysis and criticism which stemmed from the trauma under the Japanese colonization. The most urgent task is to avoid academic closeness and to share the research. Painting is an individual expression of the artist, but the act of expression is not free from the cultural and societal influence to which the artist belongs.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.29-44
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• 2013

This study is about the periodic characteristics of Wonsam in the Joseon Dynasty. Wonsam include the Danryeong-shaped Wonsam in the beginning, the compound Wonsam in a period of transition and the stereotyped Wonsam in the late Joseon Dynasty. The formative characteristics of Wonsam are divided into four stages. The first stage of the Wonsam is from the 15th to 16th century. The shape of Wonsam began to form and it was similar to one of Danryeong during this time. The formative characteristics of the first Wonsam included collars that looked like one of Danryeong, side pleats(called Moo) with multiple inner folds, straight cylinder-shaped sleeves, and a belt tied with the Wonsam. There were various fabrics that were used for the Wonsam from this stage. Second stage of the Wonsam is from the early 17th to mid 17th century. This period marked the beginning of the transition of the Wonsam and it served as a stepping-stone to the development stage in the Joseon Dynasty. The characteristics of the transitional Wonsam were a complex combination of the Danryeong and Wonsam. During this period, the Wonsam went through many changes and forms in a short period of time. Third stage of the Wonsam is from the mid 17th to early 19th century. The Wonsam was developed at this stage. The developed Wonsam went through a period of transition equipped with a stable form. The formative characteristics of Wonsam during this period included collars that faced each other, big and wide sleeves with multicolored stripes, Hansam, curve-edged side seam and the side pleats(Moo) with multiple inner folds had disappeared. It was a turning point from the single-layered clothes to double layered clothes and from dark blue to green color appeared at this time. The fabric patterns of this stage tended to consist of more simplified silk pattern. The fourth stage of the Wonsam is from the late 19th to 20th century. The Wonsam was expanded at this stage. The formative characteristics and fabrics were typically used for the standard Wonsam and were divided into two types; as a ceremonial robe used in courts and a wedding ceremonial robe for the common people. Phenomena such as sewing of double-layered clothes as one and straight-edged side seam during the late Joseon period developed into simpler and more practical fashion culture.

• 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.

• Analyses & Alternatives
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• v.7 no.1
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• pp.201-227
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• 2023

The purpose of this study is to examine how France became a representative country for far-right European populism, despite its tradition of tolerance. To achieve this goal, we examine, first, how the concept of tolerance developed in France after the 16th century. Through this process, we find that within the political system, the tolerance of the liberal tradition met with universalism, a republican value, and developed into an 'institutional tolerance' that allowed 'differences' from an authoritarian perspective rather than on an equal level. This 'assimilation' policy, reflecting a 'patriarchal' and 'oppressive' institutional tolerance, formed the keynote of the immigration policy of the 20th century, which continued until the 1980s, and shows that the French government did not take practical steps for the social integration of immigrant groups under the republican universal value that does not allow 'differences.' The government came up with an 'integration' immigration policy that embraces cultural 'differences' only after encountering problems with immigrant groups. However, this was not enough to calm the antipathy towards immigrants in French society and the discontent of immigrants in French society. Also, universalism, a republican value with deep roots in France, prevented the French immigration policy from escaping its assimilationist nature even in the 21st century. In the midst of this, far-right parties have gained power by promoting xenophobic sentiments centered on immigration problems. Finally, this study also looks at how far-right populism is currently changing the French political environment.

• Journal of Korean Library and Information Science Society
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• v.47 no.4
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• pp.537-557
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• 2016

This study examined the characteristics of books in Soongmogak of Baekbulam head family house hrough the bibliographic analysis. The collection consists of 655 types and 1335 pieces of the old books held in a famous Choi family. Books that has been handed down for 400 years generations at Soongmogak are historic references. Books of Soongmogak are preserved well, and its publication date starts from 16th century to 20th century. types of books are roughly divided into Confucian classic, anthology and history book.

• Korean Journal of Mathematics
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• v.20 no.4
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• pp.541-563
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• 2012

Sang-Seol LEE wrote a manuscript HwaHakGyeMongCho(化學啓蒙抄) in the late 19th century. HwaHakGyeMongCho was transcribed from Science Primers: Chemistry (written by H. E. Roscoe), which is translated into Chinese by Joseph Edkins in 1886. LEE did not copy original writing exactly, but he understood the contents of each chapter and sections, then summarized and edited them in his caligraphic writing. In this paper, we introduce the contents for the first time and discuss the significance of this book.

• Journal of the Korean Home Economics Association
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• v.45 no.2
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• pp.51-62
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• 2007

This study explicates some properties of the fabrics used in the 16th century by examining and analyzing the 90 pieces of fabric excavated from the graves of Mr. Ryu of Jinju and his wife Mrs. Park of Euiin. The fabrics were classified into silk tabby(紬), thin silk tabby, satin damask(段), complex gauze(羅), mixture fabric with silk and cotton(絲棉交織), cotton(棉布) etc. Compared to other contemporary fabrics excavated previously, the fabrics unearthed from the couple's graves presented very naive feelings. Patterned satin damask occupied a small portion. In the case of plain fabric, little filament silk tabby(絹) or thin filament silk tabby(細紬) was unearthed. Important data on the history of Korean costumes are provided by the noteworthy, first-ever excavation of a small cap made of complex gauze(羅) and the tiger-leopard embroidered patches called hyoongbae(胸背), which were worn on the front and back of official robes made of tabby with supplementary gold thread(金線). Only 3 pattern types could be clearly identified in form, cloud pattern, lotus and vine pattern(蓮花蔓草), and small flower and treasures pattern(七寶細花). These three patterns are very similar to those of other 16th century fabrics unearthed previously in terms of the form and arrangement of patterns.

• Journal of Fashion Business
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• v.12 no.3
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• pp.62-71
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• 2008

Costume elements are closely related with human living environment and also play an important role in the costume patterns. The East and the West have influenced and adopted each other's culture through mutual trade, which are well reflected in costume patterns and textile patterns. These days world wide fashion shows the designs applying costume details of the East and the West, which is much affected by the orientalism. The purpose of this study is to compare the sleeve patterns which take an important part in women's costume design of the Joseon Dynasty and the European Monarchy in the 16th century. Korean women's costume showed sleeves in rectangular shape with same width and long length, together with cuffs. Later they changed to diagonal shape of getting narrower toward the wrist. Western women's costume showed sleeves with puff and slash patterns. Then they were classified into French, British and Spanish styles which were getting narrower toward the wrist. Later they adopted the shape of leg of mutton which was puffed in middle and narrower toward the wrist. I n Korea and Europe, they showed respective changes in sleeve patterns, but also similarity of getting narrower toward the wrist. The East and the West are now exchanging their culture in every aspect such as politics, economics and social matters. Costume fashion is not an exception. The characteristic designs of traditional costumes are shown on global fashion, which is influenced by the orientalism.

• Journal of Conservation Science
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• v.28 no.2
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• pp.119-129
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• 2012

Excavated textiles provide very important research data on the costume culture of the Joseon dynasty. In particular, dyed textiles are indispensable for textile conservation research and for restoration of remains as well as for general costume culture research. Unfortunately, a prolonged burial environment causes the colors to change and gradually fade after excavation. Therefore, it is very difficult to identify the original color. In this study, natural dyed samples of red, yellow, purple and blue were prepared and analyzed using HPLC-PDA. Dyes of colorants extracted from excavated textile remains were analyzed by HPLC. In addition, mordants were analyzed using (SEM-EDX) in order to estimate the original color. The 16~17th Century's three samples were analyzed, sample 1, and 2 from Eunjin Song's Song Mun-Chang excavated at the Songchon-dong in Daejeon, and sample 3 from Yeosan Song's Song, Hee-Jong excavated at the Mokdal-dong in Daejeon. From the HPLC results, alizarin, purpurin, and indigo were detected on sample 1, alizarin and purpurin on sample 2, ellagic acid and indigo on sample 3. Therefore they were dyed with madder and indigo (sample 1), madder (sample2), pomagranted and indigo (sample 3). Al mordant was identified on three samples.

• (The)Study of the Eastern Classic
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• no.63
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• pp.43-82
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• 2016

The purpose of this paper is to study the image of the 16th Century Honam Chinese poetry. for that, Park Sang, Im Eokryeong, Ko Gyeongmyeong in this study. This paper identified the characteristics of Ho Nam poetry is two things. First of all, is "literary talent does not acknowledge" consciousness and image of army. Park Sang, Im Eokryeong, Ko Gyeongmyeong was advanced to the center politics with excellent literary talent to the talents our 16th century Honam. However, at that time, the ruling layer was time to lead the politics. Therefore, the three people to frustration. Yet three people were criticizing the reality. And they thought that they were unhappy. It is unfortunate that they did because of their literary talent to be recognized. Three people were very sensitive to not be recognized literary talent. This is because they were subject to the management by the literary ability. It does not recognize the literary consciousness appears as sword, spear, admiral image. Second, The HwaIbulryu consciousness and image of integrity. Park Sang, Im Eokryeong, Ko Gyeongmyeong thought it not right politics. Yet continued to politics. This is not behavior that is typical scholar. What they did so because we follow a man named Yuhahye. A man named yuhahye pursue life, be it a dirty political reality was to continue the crest. But that never lose their integrity. Three people who will follow the life of this Yuhahye. This is a life attitude graft Japanese apricot flower, oriole, rock of pillar, appears as an image.