• 한국의류산업학회지
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• 제23권5호
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• pp.545-558
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• 2021

This research analyzed the Chinese style design embodied in the collections of the new generation of fashion designers shown during the Shanghai Fashion Week to improve the understanding of Chinese style and the modernization of Chinese design. The research questions were 1) studying the development of the Chinese fashion industry chronologically and investing young designers' current situation, 2) investigating young designers' awareness of Chinese style and analyzing Chinese style design in collections. A literature and case study were conducted as the research method. The literature study focused on the books about the Chinese fashion industry and history, newspaper, articles, and so on. The case study was conducted among 63 Chinese style collections in 2016-2020 SFW by investigating fashion magazine reviews, articles, and so on. The findings are as follows: 1) Young Chinese fashion designers' awareness of Chinese style has three characteristics; the nonmaterial tendency from decreasing stereotyped images, combination of traditional culture and local youth culture, and commercialization with trends. 2) Chinese elements, including natural, character, and cultural elements were predominantly used in the concept, pattern, and shape. Nonmaterial characteristics were identified in concept, cultural combination characteristics in concept, shape, color, material, and pattern, and trend commercialization in shape, color, and pattern. In conclusion, Chinese young fashion designers had strong national consciousness and new awareness of Chinese style fashion in decreasing the stereotyped images of China. Thus, they used more varied expressions. Meanwhile, they faced difficulties in expressing nonmaterial Chinese elements by balancing them with Chinese style and globalization.

• 한국식생활문화학회지
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• 제6권4호
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• pp.459-464
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• 1991

Welcome reception for chinese envoy had been very important affairs for Chosun Dynasty. The procedure for the reception was described in Youngjeob Dogam. The events of each visit of Chinese envoy were also recorded in Youngjeob Dogam Euigwae. Among them, only the records of the year of 1609, 1610, 1626, 1634, 1637, 1643 are existing.

• 복식문화연구
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• 제5권1호
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• pp.11-18
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• 1997

The purpose of this research was to ideatify and to trace the origin and meaning of jamokai(子母蓋). Comparative linguistic analytical approaches were used for the analysis of this study. Summaries of findings in this research are as follows : 1. There wese a number of phonetic value for jamokai (子母蓋) in Chinese. 2. The term, jamokai was derived from Hebrew. 3. The meaning of jamokai of Koryo was originated from Hebrew word meaning woman's veil. 4. The word jamokai was related to Perian, Arakic, Indian. 5. It is considered that tsi-ma-kai (치마개) was transliterated to tsi-m∂u-kai (子母蓋) in Chinese by the author of Keirim Yusa (鷄林類事). 6. The word jamokai (子母蓋) of Koryo was not related to Chinese.

• 복식문화연구
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• 제2권2호
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• pp.307-316
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• 1994

This study is concerned with a comparative linguistic analysis of the Manchu costume terminologies. The Manchu costume terminologies revealed the elements Hebrew, Norweygian, English, Assyrian, Chinese, American Indian, Sanskrit, Tatar, Turkestan, Greek, Arabic, Indian, Kashmiri. The most influential elements of the Manchu costume terminologies were the Chinese costume terminologies. specifically, the elements of the Chinese costume terms were found in the terminologies of the fabrics, the gems and the precious stones. Also the influence of the Mongolic costume on the Manchu costume terminologies appeared in this study.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2008년도 춘계 종합학술대회 논문집
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• pp.681-684
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• 2008

고대 주기의 조형 디자인에 관한 연구를 통하여 현대 주기에 응용될 수 있는 디자인 요소를 발굴하고 전통을 계승한 차별화된 중국 주기 디자인의 이론적 근거를 제안하고자 한다.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2005년도 Joint International Conference
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• pp.123-124
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• 2005

• 식물조직배양학회지
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• 제26권3호
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• pp.205-209
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• 1999

지황 (Rehmannia glutinosa) 우량종묘 생산을 위하여 조직배양에 의해 생산된 종묘의 포장수량성을 평가하고 지표성분인 Catalpol과 유리당 함량 특성을 비교한 결과는 다음과 같다. 조직배양주의 종근저장성은 재래종에 비하여 약간 양호한 경향이었다. 또한 근장, 근경 등의 뿌리생육이 왕성하여 조직배양주의 수량성은 서천재래종 384kg/10 a에 비하여 1년차 묘는 112%, 2년차 묘는 246%까지 증수되는 결과를 보였다. 성분함량 특성비교에서는 총당함량이 서천재래 1.86%에 비하여 조직배양 1, 2년차 묘는 각각 1.21, 1.10%를 보였고, 지표성분인 Catalpol도 서천재래 0.46%에 비하여 조직배양 1, 2년차묘는 0.4%로 약간 감소되는 경향이었다. 이상의 결과에서 지황 조직배양주의 수량성은 재래종에 비하여 증수되는 특성을 보였다. 그러나 유리당과 Catalpol 함량은 약간 감소되는 경향이었는데 모본식물과 큰 차이를 보이지는 않았다.

• 복식문화연구
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• 제19권2호
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• pp.376-388
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• 2011

The purpose of this study is to examine the types and characteristics of Chinese indigo dyed designs performed until today in private houses of Chinese minority races and to examine the modern value of traditional dyeing crafts of minority races by investigating the cases of utilizing modern private Chinese indigo dyed designs. As the research methodology for theoretical study about the history of Chinese traditional pattern dyeing, the origin, types and characteristics of Chinese indigo dyed designs, the preceding research data, photo data, and Internet data were utilized, and for the empirical research on Chinese traditional dyeing techniques and the cases of utilizing today Chinese indigo dyed designs, the on-site survey on Guizhou and Yunnan was conducted during February and March 2008 and the data were collected and analyzed. Based on the results of this research, it was found that Chinese indigo dyed designs represented Chinese traditional pattern dyeing, which was inherited and developed mainly in Chinese minority races and Chinese. It could be seen that according to geographical distribution and characteristics of each race, the types and characteristics of dyeing techniques were formed, which are classified into the batik of the Miao of Guizhou in the Chinese southwestern region, the tie-dyeing of Bai of Yunnan, and Chinese blue calico(resist printing) of Chinese private houses in the Hunan and Huseo regions, and these represent the three typical Chinese dyeing techniques today. Based on the results of empirical research on the utilizing cases, focusing on the traditional living handicrafts of Chinese minority races, traditional cultural articles, and artworks, the modern values such as practical, cultural, and artistic values of Chinese indigo dyed designs could be rediscovered.

• 미술이론과 현장
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• 제16호
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• pp.201-224
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• 2013

The tradition of the representative art style in the Sinosphere, Shanshui hua, expresses the traditional representation of the harmony and principle of the universe. This tradition is reflected in the Chinese garden. These Chinese gardens were precisely the three-dimension representations of Shanshui hua, a visual form of abstract expression of the oriental philosophical thinking. This research determines and draws attention to the vestiges of the reflection of Shanshui hua in the European gardens through visual art and culture. It will also approach the two subjects, Shanshui hua and garden, from a transcultural view to integrally analyze visual art. The appearance of Anglo-Chinese gardens, reflecting Shanshui hua, foreshowed a big change in traditional European gardens. This is a concrete example of the transcultural phenomenon. This has formed the typical naturally curved English gardens in the gardening history. This also divided these English gardens completely from the symmetrical, geometrical French gardens. This study considers the influence and the reverberation of Shanshui hua reflected on European gardens in the European culture. The cultural exchange of European and Chinese styles in the 18th century left an impact on the European gardening style history. Finally, this study analyzes the origin of these Anglo-Chinese gardens and its content to approach it with a transcultural view as a research methodology.

• 복식문화연구
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• 제23권2호
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• pp.326-336
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• 2015

The purpose of this study is to survey the wearing and purchasing situation related to brassieres between Korean and Chinese women and to analyze the differences among them. This study utilized a survey targeting 397 women in their 20's in Korea and China. The results were as follows: First, Korean women considered that their breasts are conical in shape, whereas Chinese women considered their breasts to have a flat shape. With regard to breast size, those of Chinese women are larger than those of Korean women. Moreover, Chinese women expressed a high rate of dissatisfaction with their breasts. Second, regarding the wearing condition of brassieres, while Korean women expected their brassiere to converge their breasts to the center, Chinese women expected their brassiere to support the breasts. It was found that many of them were dissatisfied with the shoulder straps and the center front wire. Third, in the results pertaining to the purchasing brassieres, although both Korean and Chinese Women mainly visited brand name stores to buy brassieres, compared with Chinese women, Korean women prefer to shop at home to buy the brassieres. In addition, they considered the compensation effect, size, activity, fabric and fit as the most important selection criteria when purchasing a brassiere.