• Fashion & Textile Research Journal
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• v.4 no.4
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• pp.347-357
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• 2002

In 1536, two Piedmontese merchants set up workshops in Lyons, and Henri IV encourged further development later in the 16th century. The development of Lyons as a centre of the silk weaving industry was helped by the perfection of drawloom weaving technique there in 1605 by Claude Dangon. In the 17th century, the French silk industry could finally compete with the dominance of the Italian silk trade. The French silk industry was promoted in the mid-17th century under Louis XIV's minister Colbert. In 1667, he published an ordinance creating La Grande Fabrique, a corporation for craftsmen within the silk industry, and Lyons became the undisputed French silk capital. Under Louis X IV, France was becoming the dominant force in Europe in matters of fashion and style. The major innovation of weaving was the Jacquard head attachment, which provided a mechanical means of raising warp threads by a series of punched cards. The are nouveau style did not have much impact on French silk design at the end of the century. Silk manufacturers began to collaborate with haute-couture designers such as the House of Worth. This collaboration with the burgeoning Paris haute-couture industry continued into the 20th century and safeguarded the future production of silk textiles in France.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.208-241
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• 2010

This study was conducted to examine the chronology of Taesil Seokham(Taesil Stone Boxes) stored in Taesil of the Joseon Palace and classify the styles to discuss how these boxes have developed. By doing so, this study defined the archaeological styles of taesil seokhams in the chronological order. Although taesil seokhams are placed when taesil are first created, they do not have any texts engraved on them and it is difficult to gain information only from examining taesil seokham. However, Taejiseok(memorial stones buried in Taesil) and Agibi(gravestones buried in Taesil) were created along with taesil. These resources were examined and compared with literature records to find when each taesil seokhams was created. The critical elements to consider for the chronological arrangement were both the cover and container of the boxes and the transition of their style could be classified into four major stages. In detail, the Joseon Dynasty's taesil seokhams initially inherited the style of the Goryeo Dynasty to be formed into rectangular boxes. Through the transition of the mid and late 15th Century, the semi-circular cover with cylindrical container became the popular style in the late 15th Century. In the late 16th Century, the style of the previous period was further developed to add some decorative elements, such as projecting ornaments, but the ornaments were added for functional purposes rather than artistic purposes. However, the style went back to the semi-circular cover with cylindrical container in the early 17th Century. From the mid 17th Century, various styles appeared with ornaments only on the cover, cone-shaped cover with no ornament, or mortar-like container. However, a new style of cone-shaped cover with ornament emerged between the early and mid 18th Century and continued to stay until the mid 18th Century. In the mid 18th Century, the cover remained unchanged, but the container became a keyhole-shaped space with one side forming a "ㄷ" shape. However, in the late 18th Century, the most typical style of the semi-circular cover with cylindrical container reappeared to show that this is the most universal style. Last, in the mid 19th Century, the cover changed from semi-circular to rectangular with flat top. After this, the taesil seokhams began to disappear. In terms of style, it can be classified into four stages. In the early Joseon Dynasty, the taesil seokhams were underdeveloped and inherited the style of the Goryeo Dynasty (Stage I; 1401~mid-15C), but Joseon's unique style began to develop from the late 15th Century (Stage II; 1477~1641). After that, partial ornaments were added for adornment (Stage III; 1660~1754), but the typical style reappeared in the late 18th Century to finally degrade in the late Joseon Dynasty of the mid 19th Century (Stage IV; 1790~1874). This arrangement of style and chronology would greatly help archaeologists anticipate the time and owner of taesil seokhams even if only taesil seokhams are discovered without any records. * Tae(胎) : Placenta and umbilical cord * Taesil(胎室) : A facility(chamber) of burying Tae(胎) in rite when royal descendants are born.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.2
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• pp.167-180
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• 2011

The portraits created in the age of Queen Elizabeth I show a very exquisite description about the ruff collar and cuffs representing the notable evolution of periodical costumes from a detailed viewpoint. This thesis analyzes the ruff collar and cuffs of the portraits of Queen Elizabeth I. The method used selects 32 pieces from the portraits of Queen Elizabeth I that are considered excellent depictions of a ruff collar and cuffs, to investigate size, form and decorations. Conclusively, the ruff collar tends to be extremely enlarged and thickened (coinciding with the development of glue) while the cuffs denote the aspect of double cuffs coupled with the turn-back cuffs without a change in size. These traits were widely shown from 1585 to 1587, while after 1588 the ruff cuffs completely disappeared in the portraits of Elizabeth I. At the same time, the change of a ruff collar was remarkable, the collar being in the erect position behind the head (with the use of supporters), of a consistent thickness and decoration of elaborate lace. During the transition period from the $16^{th}$ century to the $17^{th}$ century the earliest change was in cuffs followed by collars. This research is a helpful guide to detect the relatively exact date of portraits not definitively identified in the latter part of the $16^{th}$ century and to observe the microscopic evolution of costumes in the latter part of the $16^{th}$ century.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.10-24
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• 2017

The research takes note of the formation process and settling period of Gwandong-Palkyung(關東八景, Eight Sites of Eastern Korea), the representative palgyeong(prominent eight sites) and jipgyeong(集景, landscape collection of scenic beauty), and investigates the time of formation regarding the palkyung and jipgeyong of Gwandong's scenic beauty through the analysis and interpretation of bibliographic data, and reference data. The result of the study is as follows. As the first document that records the terminology of "Gwandong-Palkyung" is "Daphongeunggil(答洪應吉)" of Yi, Hwang(李滉), Gwandong-Palkyung is inferred to be settled within the recognition of the people even before the 16th century. The geographic analysis result including "Sinjeung Donggukyeojiseungram(新增東國輿地勝覽)", Gwandong-Palkyung expanded as Gwandong-Sipkyung in early to middle of the 16th century. The first confirmed landscape collection regarding Gwandong-Palkyung in this study is confirmed in Shin Zup(申楫)'s "Yeonggwandong-Palkyung(詠關東八景)", thus, the terminology of Gwandong-Palkyung existed before 16th century at the latest. The settlement time of current "Palkyung" collection is estimated to be early 17th century at the latest. Poetries regarding Gwandong-Palkyung, and the frequency on the appearance of Gwandong scenic beauties are analyzed as making clear of the concentrated phenomenon on the sceneries of Gwandong-Palkyung. On the other hand, the collection of Gwandong-Palkyung in the domain of arts is confirmed initially in the ${\ll}$Gwandongpalkyungdobyeong(關東八景圖屛)${\gg}$ of Heo, Pil(許泌). Gwandong-Palkyung, expressed as the actual scene landscape painting shows similar tendencies of the conditions in the jipgyeong from the poetry, but the appearance rate of the painting subject was more prominent in visual solidarity and cohesion due to the reflection of the importance on icon(圖像) of the art works produced with particular meaning in the case of fixed ideal system. From late Joseon to modern times, ${\ll}$palpokbyeongpung(八幅屛風)${\gg}$ of various forms of folk painting is a corroborative evidence notifying that the cultural phenomenon of Gwandong-Palkyung has entered the universal period of embrace. Also, the 13 scenic beauties of Gangwon-Do appearing in the games of Namseungdo and Myeongseungyuramdo include Gwandong-Palkyung, which confirms the settlement of Gwandog-Palkyung even within the culture of games in late Joseon. Such results demonstrate the existence of awareness regarding Gwandong-Palkyung from the first half of the 15th century, which is presumed to have completely settled in the 17th century through the continuous development of formative process in the 16th century. Ultimately, Gwandong-Palkyung is the concrete formation of regional scenic beauties that individually gained its reputations as scenery from the Koryo Dynasty to late 17th century. Gwandong-Palkyung of the scenic beauty of Gwandong is a unique cultural scenery of the region that have germinated and formed through the process of cutting and polishing of long time to collect the best eight of scenic beauty from the many participation of sightseeing culture.

• Journal of the Korean Society of Costume
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• v.25
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• pp.269-284
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• 1995

This study investgates the significance of Chosun burial clothing in 15th to 17th Centuries by examing the costumes recorded in the ryesu (ritual books). Referring to description of the mouring-rit-ual in the the Kujoohryei(국조오례의), the sangryebiyo(상례비요), they exhibit little differ-ence in the ceremonial procedure, this implies that the the Jujagarye, the oldiest Chinese Ryesu, had influence on the manner of Chosun. The Kujoohryei(국조오례의) written-in 15th Century played a paramount role in domesti-cation of burial costume(염습의) which had been performed by the Jujagarye(주자가례), and the sangryebiyo(상례비요) etc written between 16th and 17th Centries promoted to genealize the mouring-ritual to the ordinery people. In the period, ryemsupui(염습의, clothing for the dead) is costumes for 'sup(습)', sofyum(소렴), and 'daeryum(대렴)' in the mourning ceremorial procedure, and for postliminal rites in the rites of passage. The reason of using clothing which they put on the dead's own daily clothing stands for eagerness for lasting life not only in this world but also in the other world.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.3 s.162
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• pp.451-462
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• 2007

The purpose of this study is 1) to find out the dominant clothing ornaments in Europe in the 16th, 17th and 18th centuries, 2) to examine the changes of such clothing details as neckline and collar, sleeve and stomacher from 16th to 18th century 3) and to classify the ornaments of these 3 centuries according to Yin and Yang's traits. An analysis was conducted of 405 pieces of art out of 10 books of costume history. Of these pieces, 121 were from the Renaissance era, 107 were Baraque and 177 were Rococo. The analysis found that the distinctive ornaments in 16th century were ruff, slash, chain and girdle decoration. The distinctive ornaments of Baroque period were tassel, fringe, loop and binding. The Rococo period were distinguished by falbala, sash belt and fabric necklace. With regard to the changes over the 3 centuries necklines changed from high to lower. Sleeves became shorter. Stomacher which was long and sharp became wider and shorter. As to the Yin and Yang's traits there was also an evolution. Renaissance costume with Yang's style was decorated mostly Yang influenced ornaments. Baroque clothing was a mixed of Yin and Yang, as were the ornaments. By Rococo both clothing and ornaments reflected Yin's traits.

• Journal of the Korean Geographical Society
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• v.43 no.6
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• pp.858-872
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• 2008

This study examined the meteorological disaster of Jeju Island in Chosun Dynasty based on historical documents, and analyzed how its government and Jeju Islanders responded to this. Recording cases of abnormal weather days of Jeju Island in Chosun Dynasty were most in 17th Century, and then in 18th Century, 16th Century, 15th Century, and 19th Century in order. For the type of meteorological disaster, storm damage was most serious, and then flood disaster, drought disaster, and snow damage were in order. For the region, Jejumok was mostly damaged from storm and flood, and Daejeonghyeon was mostly from drought. Once meteorological disaster occurred, it was a common thing that it continued with famine. The Chosun government relieved Jeju Islanders by moving the grains of mainland into Jeju Island, and for this, installed Galdujin warehouse, Naripo warehouse, and Jemin warehouse. Also, it tried to resolve chronic famine by moving Jeju people into mainland such as Pyeong'an-do. Corresponding to severe weather, the farmers of Jeju Island implemented agricultural methods such as Dapjeon, Baryeong, molding, and wind-breaking; and the seamen conducted unique arts of navigation such as Hwanjeon, and gravel shipment.

• (The)Study of the Eastern Classic
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• no.41
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• pp.61-90
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• 2010

In this paper, I focused on analyzing Yeoheon Chang Hyeon-gwang's literary theory and his prose in the genealogy of Confucian scholars in Chosun. Through this study, I would like to examine the trend of concentrating on 16th century when we treat the literary tendency of Confucian scholars. With this goal, I tried to seek the direction which was pursued by Confucian scholars who lived during the 17th century. Yeoheon tried to construct the spirit of humanities cosmically as an aim of his life, study, and literature. And he had a new understanding of human independence by suffering from Japanese invasion in the late of 16th century. He insisted that only human can realize the spirit of humanities on a cosmic base. He also thought that the morality(道) could be settled only by literature(文). We may interpret this concept as a progressive idea about literature comparing to the former Confucian scholars. On the other hands, Yeoheon tried to accept the literary theory of former scholars such like Park Young, Cho Sik, and Seong Woon who embraced Taoism. Yet he erased the color of Taoism in the field of topic, and he also tried to keep his distance from them in the field of literary form. This concept actually came from Lee Hwang's opinion, while Yeoheon tried to rouse scholar's independence. Through above, we may realize that the Confucian scholars of 17th century were not just imitators of 16th century. They tried to examine the former study and also tried to renew the theory.

• The Journal of Korean Medical History
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• v.32 no.1
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• pp.77-86
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• 2019

The Diary of Muk-Jae is a historical record that describes many social aspects of the Joseon period in the 16th century. It records many scenes of its author, Lee Mun-Geon, treating patients. This paper uses The Diary of Muk-Jae to examine changes in the perception of the concept of cold damage and the text of the Shanghanlun (Treatise on Cold Damage) in the Joseon period in the 16th century. In The Diary of Muk-Jae, cold damage is understood in connection with two categories: 'dangerous disease' and 'disease caused by cold'. The Diary of Muk-Jae also presents the Shanghanlun not as a work limited to the concept of cold damage, but as a medical text that could be widely used for many different diseases. Thus, The Diary of Muk-Jae may represent a point of transition between in the perception of cold damage as seen in the Uibang Yuchui (The Collection of Medical Procedures) of the 15th century and the Donguibogam of the 17th century.

• Journal of the Korean Home Economics Association
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• v.49 no.5
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• pp.23-32
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• 2011

This study will covered socio-cultural background and characteristic of the face-concealing culture of Istanbul which has liberal and westernized clothes culture for women even if it's an city in an Islamic country. This study depended on literatures related to religion, culture and costumes of the Ottoman Empire, especially costumic data on miniature of turkey, which was famous from 16th to 19th century. Since the 17th century, the Ottoman Empire has been gradually influenced by European countries but the change of women's clothes was not considerable. In the 18th century, women's clothes were influenced by foreign fashions. A veil to cover the face was gradually disappeared and traditional Turkish headdresses were replaced by European hats. Through face-concealing culture of Istanbul, we can see some socio-cultural features like Islamic religious character, one's social position, economic situation, westernization and renovation, beauty and completion of costume, duality for the reason of regional difference.