• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.275-292
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• 2003

The purpose of this study is to recognize the aesthetic characteristics of the Maximalism depicted in contemporary costumes of new millennium. This is done by analyzing and examining the social and cultural background of fashion in the few years of 21st century. The fashion trend of the beginning of 21st century was coexisted conflicting factors with ultramodern factor and past recurrent factor. For that reason, new millennium is to be existence background of Maximalism style in contemporary costumes. The social and cultural background of Maximalism was regarded as characteristics of the Glocalism, fusion style, bobos. Glocalism means a compound word of Globalism and Localism, and used various fields of policy, economics, society etc. Consequently, the aesthetic formativeness of Maximalism of the contemporary costumes was investigated as the 'Romantic Hippie Look' and 'Romantic Sports Look' 1) Romantic Hippie Look New millennium fashion trend is affected by hippie style of 1970's. That is major reason that the antiwar consciousness of 9.11 terror, USA-Afganistan war and the economic depression is similar to 1970's situation. Accordingly, fashion trend is developed into bright, light, romantic style and fashion designers chose materials with flowers, butterflies, dragonflies pattern. Because the clothing of these material reflects well modern people's feeling to escape misgivings, unrest of political terror, war etc. The characteristics of hippie style expressed freedom as the greatest merit was raised new trend, so called 'Romantic Hippie Look' on new millennium. That is, the romantic hippie look of the contemporary costumes is depicted as the formative beauty of the multiculturalism and nationalism. 2) Romantic Sports Look : The beginning of new millennium, many fashion designers intend to graft the details of sports wear on order made or ready made clothing and try to show luxury and cheerful fashion design with combination of sporty and romantic factors. Accordingly, theses fashion trends expressed 'Romantic Sports Look' with a harmony or disharmony of unusual factors. The fashion trend of new millennium centering around special cities like New York, Paris, Milan moved to various regional culture. Accordingly, the features of fashion depicted not unique theme but multiplicity of the clothing of dissimilar style or material by the mixture of 2 or 3 factors like the fusion of femininity and masculinity and the combination of past and present of details. That is, the romantic sports look of the contemporary costumes is depicted as the formative beauty of the multi-functional and crossover.

• Journal of the Korean Society for Aeronautical & Space Sciences
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• v.32 no.7
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• pp.1-12
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• 2004

A flow visualization of the 1st cycle motion of a fling-clapping wing that might be employed by butterflies during flight is performed. In this numerical flow visualization, he time-dependent Navier-Stokes equations are solved for two wing motion types; 'fling followed by clap and pause' and 'clap followed by fling and pause'. The result is observed regarding the main flow features such as the sequential development of the two families of separation vortex pairs and their movement. For the fling followed by clap and pause motion, a strong separation vortex pair of counter-clockwise develops in the opening between the wings in the fling phase and they then move out from the opening in the following clap phase. For the clap followed by fling and pause motion, the separation vortex pair developed in the outside space in the clap phase move into the opening in the following fling phase. The separation vortex pair in the opening developed in the fling phase of the clap followed by fling and pause motion is observed to be stronger than that in the opening developed in the fling phase of the fling followed by clap and pause motion.

• Korean journal of food and cookery science
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• v.24 no.3
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• pp.312-324
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• 2008

In this study, we investigated the names and various types of "kwa-jung" along with their recipes and ingredients occurring in Korean cookbooks published before the 17th century. The kwa-jungs were classified into 7 groups including Yoomilkwa, Yookwa, Dasik, Junkwa, Kwapyun, Yutganjung and Dang. A total of 72 kinds of kwa-jung were found. 26 kinds of Yoomilkwa, 18 kinds of Yookwa, 7 kinds of Dasik, 10 kinds of Junkwa, 1 kind of Kwapyun, 3 kinds of Yutganjung and 8 kinds of Dang. Among the types of Yoomilkwa, Yackwa was recognized as the best food according to the references. Also the cooking methods for items had a tendency to become simpler as society became modernized. Original and rare Ingredients were often substituted with other items that could be found more easily where people lived As recorded, the Yookwa group included kangyung, sanja, and bingsakwa. And as society became modernized, people tended to buy Yookwa in the store rather than making it at home due to its complicated and often difficult cooking process. The Dasik items were a kneaded mixture of flour, or the flour of chestnuts, with honey. These were formed into various patterns like birds, animals, butterflies, tree leaves and flowers, or as ki-wha by using printing cooking utensils Honey was used as a sweetener and as a combining material. The Junkwa consisted of roots or fruits that could be easily obtained these cooked or raw foodstuffs were then mixed with sugar and simmered. The Kwapyun used sour fruit juices as a main ingredient. These were then combined with sugar and simmered and allowed to harden. Then they were cut into square shapes after cooling. Yutkangjung was a mixture of yut, chochung, honey or syrup and pine nuts. which was combined over low heat. After mixing and stirring it was cut into square shapes. Finally, the Yut was typically cooked with grains and powdered malt and stirred until thickened.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.6
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• pp.12-23
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• 2019

The purpose of this study was to develop and study an experiential natural education program that could emphasize the importance of the natural environment by providing natural experience opportunities using the natural resources of the urban forest parks using Youngheung Park in Suwon, Gyeonggi Province as a target site. The research target was limited to Suwon Yeongheung Park, which had the potential to become a place for education, where urban forest conservation and sustainable use already coexist. The natural education resources derived by surveying and analyzing the basic environment and the ecology of plants and animals in Suwon Yeongheung Park were organized to establish program goals, directions, and themes. Suwon Yeongheung Park is a water-rich forest that forms an ecological system of wetlands, including rice paddies, muknon wetlands, and dungbun, near a valley area. The U-shaped walkway was smoothly formed along the ridge and includes Doran-gil, which is among the Palochrome Road, designated by the city of Suwon. The soil is acidic, with a pH 4.40, due to urban pollution and acid rain, and is not good for plant growth. Most of the artificial forests, natural forests, and arable land were found using land use and extant life surveys. Old trees were distributed in artificial forests, the oak clusters in natural forests, and the fields and darrinones were distributed in the arable areas. As the forest vegetation declined, the cedar forest was underway, and the cedar trees and red bean pear trees were cultivated due to their adaptability to the urban environment. There are 13 large of 180 sacks, one being 109 centimeters in diameter, the largest silvery tree, and 105 oak trees, provide food and shelter for animals. Six species of waterfowl that used the 22 kinds of forest wetlands, while four species of amphibians and two species of reptiles reside in the wetlands. Natural Monument No. 327, Mauryuk, Class II Endangered Wildlife, was also observed in the wetlands. Eight other species of surface dragonflies and three species of butterflies were observed. By systemizing the resources, members, and characteristics of the forest ecosystems in Suwon Yeongheung Park based on five criteria, the program for a hands-on natural education was presented with the aim of understanding the urban forest ecosystem in Suwon Yeongheung Park, having an affinity with the city, and recognizing its relationship with the community and society. However, further research is needed as there are limitations of research on programs characterized by different ages and classes.

• Journal of Sericultural and Entomological Science
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• v.50 no.2
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• pp.133-139
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• 2012

The Aims of this study are to investigate ecological environments and indoor-rearing conditions of Eurema hecabe for artificial rearing. Two different nesting site, a open area nearby small river(A area; Daejin-ri, Gonyang-myeon, Sachun-si, Gyoungsangnam-do) and a foot of a hill area(B area; Noryang-ri, Seolcheon-myeon, Namhae-gun, Kyoungsangnam-do), selected for investigation of ecological habitat environment, and investigated two times per month, during six month, from June to November in 2010. In result, the number of butterflies, Eurema hecabe, at the hill area(B area) was 6 times more than the open area(A area). We observed the number of eggs, larvae and puapae in the B area more times compared to those in the A area. In the B area, Lespedeza cuneata was higher preference than the other host plant, Lespedeza pilosa and Albizia julibrissin. For development of indoor-rearing conditions, common grass yellow butterfly, Eurema hecabe, was reared in a room condition. As a result of oviposition preference experiment, 100-mated-female laid significantly higher number of eggs $104.9{\pm}19.6$ on Lespedeza cuneata plant, whereas the number of eggs was $12.7{\pm}4.5$ on Cassia obtusifolia plant. Moreover, the eggs hatched within $5.1{\pm}0.9$ days from the day of oviposition and procent of egg hatchability was 53.7% on host plant. The headwidth of each developmental larval stage were $0.36{\pm}0.02$(1st), $0.61{\pm}0.02$(2nd), $0.93{\pm}0.05$(3rd), $1.46{\pm}0.08$(4th), $2.25{\pm}0.11$(5th). The larval period was $12.1{\pm}0.9$ days under high temperature, long day condition($25^{\circ}C$, 16L : 8D), showing 81.0% pupal ratio. The pupal period was $6.9{\pm}0.7$ days, and the emergence rate was 79.6%. Based on above experiment, artificial rearing system of common grass yellow butterfly, Eurema hecabe was completed in indoor condition.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.