• Journal of Fashion Business
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• v.10 no.6
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• pp.1-8
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• 2006

This study was aimed at reviewing kinds and characteristics of children's costumes in consideration of their social and cultural backgrounds and particularly, those of children's costumes during the period of Enlightenment following Chosun dynasty and thereafter. Namely, this study focused on children's costume history in view of not adults' costume miniatures but their own concept. It is deemed very significant to review the history of our traditional costumes and thereby, express their decorative features with our contemporary sense. It is results can be summed up as follows; Strictly speaking, the period of Enlightenment can be defined as the one from Gwangwhado treaty in 1876 through annexation of Korea by Japan in 1910, but it may well extend until our emancipation from Japan in 1945. By 1890's, children's costumes remained almost traditional, but since then, the Chimas as well as Jeogori and breast tie began to be narrower. Particularly, Children's Jeogori began to be narrower with their breast tie disappearing gradually. By 1910's, children's costumes had changed much, with the breast tie replaced by the buttons and the longer Jeogoris.

• Journal of the Korean Geographical Society
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• v.42 no.3 s.120
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• pp.344-354
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• 2007

Estuarine wetlands for 33 watersheds in the Han River estuary were delineated on topographic maps from the 1910s, 1970s, and 2000s. Then, these data were used to address the issue of spatial distribution and temporal variation. Watershed characteristics such as drainage density, location, watershed size, slope, and elevation were identified for each watershed to determine the relationship between watershed characteristics and spatial distribution of estuarine wetlands. The analysis of estuarine wetlands indicated that wetlands in the estuary had declined gradually between the 1910s and the 1970s, although most wetlands were lost since the 1970s mainly caused by the large development projects related to urban expansion in metropolitan Seoul. The sediment composition and formation processes of the wetlands differed with watershed location; mud flats dominate in the lower part of the estuary, and relatively more sandy and emergent-plant wetlands occur near the main channel and tributaries of the Han River. Relatively more estuary wetlands occur in large watersheds, which have high slopes and low elevations. Estuarine wetlands have been lost dramatically in the densely populated watershed regions (i.e., Han River Seoul, Han River Goyang, West Han River), while relatively more wetlands have remained in undeveloped regions, including the Lower Imjin River and Lower Han River. In particular, anthropogenic disturbance has played an important role in the loss of wetland through the conversion of wetland into agricultural and developed land.

• Journal of the Korean Association of Geographic Information Studies
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• v.10 no.3
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• pp.93-103
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• 2007

In order to plunder the Korean Peninsula in earnest, 'Modern Age Korea Topographical Map' of reduced 1:50,000 scale was manufactured within the period of 5 years from 1914 to 1918 through Japanese government-general of Joseson. This map includes all the data representing the life model of Korean Peninsula in the period of the End of Korean Empire, before the modern public construction works had started to seriously develop. This study analyzes the land use change after embedding the coordinates to the image of Modern Age Korea Topographical Map, which includes the scenery of 1910, and then overlaying it with the contemporary map in GIS environment. The results of presented research showed that before modern civil construction works started, the farmlands had lost their competitiveness because of difficult for development hilly areas and frequent floods, the river sites being abandoned and industrial structure change, and were developed into modern city area.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.71-82
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• 2009

The purpose of this study is to help understanding of patterns and to play a guideline's role in the development of designs and the prediction of trends for present and future fashion designers and textile designers. The methods of this study are the study of academic literatures as well as practical study through the analysis about actual works. The results of study are like followings. An inquiry of Pattern history in 20c is divided into six periods by the classification of styles and the styles of fashion culture according to other artistic formative will. Main trends of Pattern's image in each period and characteristics in each dimensions of Pattern image positioning are like followings. Art Nouveau style period from 1900 to 1910 is , Art Deco style period from 1910 to 1920 is , Elegance style period of 1930s is , and New Romantic style period from 1945 to mid 1950s and Pop style period from late 1950s to mid 1970s does not show main Pattern image but they are shown in four Pattern image of , , , . Compromising style period from late 1980s to 1990s shows all of four Pattern image, at the same time shows intensive main Pattern's image, .

• Korean Architects
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• s.641
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• pp.102-106
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• 2022

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.22-44
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• 2022

Lacquer, in addition to high-end crafts such as lacquerware inlaid with mother-of-pearl, was an important strategic material used in a wide range of fields such as industry, architecture, and munitions during the Japanese colonial era. In particular, as the demand for lacquer used in munitions soared in the 1940s when the war started, a ticket system was introduced to restrict its distribution. Meanwhile, Japan experienced a chronic shortage of lacquer as a result of the rapidly increasing demand for it, and thus went on to import Chinese lacquer after the late 19th century. After the 1910s, the market share of Chinese lacquer reached 90%, and the local situation in China began to affect the supply and demand for lacquer in Japan. To counteract the issue, the Japanese government increased the production of lacquer in Joseon. As for the project to increase lacquer production in Joseon, objective indicators were prepared through a number of tests in the 1910s and 20s, which paved the way for the project to begin in earnest in the 1930s. Lacquer trees were planted and training classes on how to collect lacquer were held throughout the country. The Japanese government promoted the lacquer production industry as a promising side job for Koreans. The project, implemented in various parts of the country, reaped fruitful results, and it provided the basis for lacquer production in Korea that has continued to this day. At that time, the major regions in the southern part of the country where the project was concentrated were Wonju, Okcheon, and Hamyang, regions that are still known today as major production sites. The improved method of collecting lacquer taught to Koreans by the Japanese has now become the main method of collecting lacquer in Korea. This study attempts to identify the current status of the project to increase lacquer production through various records from the Japanese colonial era with a view to contributing to the study of modern lacquer craft history.

• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.439-453
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• 2015

This research is regarding Park Ki-Jong's Western-style court costume and emphasizes the shape and style peculiarities of Western-style court costumes in the Korean Empire from the 1876 Port Opening to the 1910 annexation of Korean to Japan. Park Ki-Jong's frock coat was made during the period of the established law from 1900 to 1910. 1) The brand was ASADA TAILOR from Kyung-Sung. 2) The shape was long at the front and back, and it featured a picked lapel and double breast with six buttons to fasten and two buttons for decoration on the upper part. 3) The frock coat's materials were black wool fabric and black ridged silk. The lining's material was black plain silk and the sleeve's lining was white with blue striped silk. 4) The front separated the upper and bottom parts. The bottom was composed of a one-piece A-line skirt that continued from the front to back. The top of the back was separated by the princess line and the center-back seam was also separated with a vent. However, the center-back of the waistline was not separated, and it continued to one piece. The sleeve shape was a two-piece sleeve style with a phony vent and two wrapping buttons.

• Journal of the Korean association of regional geographers
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• v.3 no.2
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• pp.195-208
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• 1997

On the basis of the topographic maps in the 1910's and 1990's and the classification map of Landsat TM satellite image photographed on Sept 1, 1996, the spatial distribution and the current situation concerning tidal flats in Korea were studied by measuring the area with GIS Arc/Info system and examining the regional condition required to develop the tidal flats. The results are as follow; The tidal flat resources in Korea cover an area of about 3800 square meters, including the reclaimed one since the 1910's. And they are widely distributed in the west coast of South Jeonla, Kyunggi bay, Asan bay, the south coast of South Jeonla, Kunsan bay, Chunsoo bay, and the coast of South Kyungsang and Pusan when put in the order from bigger area. Given the area under the construction at present, more than 50% of the tidal flats are reclaimed ones. The tidal flats are being developed especially in Kyunggi and Asan bays because they perfectly measure up to the conditions required. For Kunsan bay, a remarkably good supply system of the alluvial sedimentary materials and a favorable coastline requirement for the coast of the South Jeonla also contribute to the development of the tidal flats. In the case study of Kunsan bay, it was shown that the shape of the tidal flat is making a continuous change and the area is getting bigger in terms of the multi-temporal change of the tidal flat development. However, while in the first half of the 20th century, the increasing rate of the area was considered to be rather high, it is considerably lowered almost to a standstill in the latter half of the century.

• Korean Institute of Interior Design Journal
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• no.38
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• pp.108-115
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• 2003

Between 1890-1914, the fundamental changes of the housing in United Sates of America were provoked to attempt the housing developments to adapt modern social system. The worthy of notice is that F L. Wright's Prairie House had been tested and built during the period as 'the first and second era' Despite the transition period in America, this represents that Wright's Prairie House series were developed. There are possibilities that some of the reformers assertion for Housing Development, on behalf of Arts & Crafts Movement, led to Wright's early house inner space design. For this reason, this study is to examine Ideologies that Wright has been accepted between the turning point of America's Arts & Crafts Movement and Hull House Circle. In terms of the ideologies acceptance, the study is also to examine how to be represented his inner space design characteristics. As the result, between'Simplification'housing development and the traditional housing In America, F L. Wright sublimated his own architectural aesthetic as accepting all functional elements to consider inevitability in this period, such as the association between economical and rational space, the plan to led on free plane, the spatial side and the stability of family life and the community, through the unification space having the consecutiveness.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.112-126
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of 'movement' expression in modern fashion(1910-2004) based on a study of modern fine arts which adopted 'movement' element in their work. In this study the meaning of movement was defined as motion, changing position and transformation. Literature survey through books and research papers and demonstrative study with fashion collection photos were undertaken. The results wert as follows ; 1) Kinetic art, optical an, light kinetic art and technology art such as video and computer art have adopted 'movement' element in their work. 2) The plasticities of 'movement' fine arts were identified as mutual penetration, increase of visibility, use of non-traditional materials and dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of fine art, optimistic attitude on technology, spectator participation and integration of art and life. 3) The 'movement' expression in modern fashion was distinctively found in 1910s-20s(avant-garde fashion), 1960s (kinetic and optical art fashion) and mid 1990s to 2004 (techno-cyber fashion). 4) The plasticities of the 'movement' expression in modern fashion were identified as non-definition, use of non-traditional materials, dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of dress, optimistic attitude on technology, playfulness through participation. In conclusion, the expression of 'movement' in modern fashion has optimistic viewpoint on the development of modern society and is one of the interesting design points which will be pursued in the fellowing years.