• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.955-971
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• 2015

The purpose of this study is to consider the design characteristics of Chinese traditional clothing, especially from the Ming-Qing Dynasty era, and how they have influenced contemporary fashion. Regarding research methods, this study determined the design characteristics, such as the form, color and pattern of Chinese traditional clothing of the Ming-Qing Dynasty era. In addition, 440 photos were collected from the Paris Collection from 2005 to 2014 using www.firstviewkorea.com. The results of this study are as follows. First, the most popular silhouette from Chinese traditional clothing appearing in contemporary fashion was the H-shaped one, and the internal lines appeared in the following order: Chinese collar; narrow sleeve; symmetrical front opening; round collar; wide sleeve; and the C-shaped Biwa front-end. Second, the most popular color was achromatic black, followed by white. The chromatic colors were in the order of blue, yellow, red, green, and purple. Third, the patterns appeared in the following order: Plant patterns, complex patterns, and animal patterns. The peony pattern appeared the most commonly as a plant pattern, followed by the arabesque pattern and the plum blossom pattern which appeared with a similar proportion. Dragon, bird and phoenix patterns appeared the most for animal patterns. It is considered that the results of this study will be helpful for designing products for Korean fashion brands that will advance to the Chinese market. In addition, it will help Chinese designers apply the Chinese-style design characteristics popular among people throughout the world when they advance to the West.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.65-73
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• 2021

This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.

• Journal of the Korean Institute of Educational Facilities
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• v.18 no.3
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• pp.13-21
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• 2011

Yanji city in China is a city most populated with Korean-chinese. This study is to examine architectural planning characteristics for Korean-chinese Elementary schools in Yanji city. Currently, this city includes nine Korean-chinese schools. This research has been processed with regards to three broad aspects. Firstly changing processes of school systems, secondly local distributions and networks of school facilities, and thirdly site plans, floor plans and elevations of school buildings were analyzed and examined for finding their characteristics. For this study, seven Han-chinese Elementary schools were also analyzed. The study result are as following: 1. Korean-chinese schools have followed national education policies and also maintained Korean-chinese native education methods. The schools have undergone merger and separation with Han-chinese Elementary schools. Three Korean-chinese Elementary schools in Japan Colonials, two schools in the period of the Republic of China foundation and its growing, and four schools in 1980s were founded. 2. Yanji city administers the networks of Korean-chinese school districts and Han-chinese districts separately. All school districts apply to lkm standard as attending distance. The networks are adjusted as per population change. 3. The characteristics of buildings' site plans, floor plans and elevations are simple. Layouts of the schools are - type or -type centered playground. Building plans show one side corridor type and 5 stories mostly. Elevations stress central parts. Various forms such as finger types do not appear in mass planning since the school curriculum and extracurricular activities are not seemingly active. Han-chinese Elementary schools have similar conditions.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.241-252
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• 2023

Watercolour painting was introduced to China over a hundred years ago, and in the last two decades, it has developed rapidly, presenting a situation of diversified development. While Western-style watercolour painting has been adopted by Chinese painters, they have also expanded on it with their own aesthetic awareness and cognitive styles. As a result, Chinese watercolour painting has developed a set of expressive techniques that highlight the cultural characteristics of the nation in terms of aesthetics, concepts and techniques, resulting in a painting style with a distinctive national personality at present. Although Chinese watercolour painting has taken on a variety of styles with the intervention of modern and contemporary art, realistic watercolour painting is still the mainstream. However, there are obvious differences between the "realism" of Chinese watercolour painting and the "realism" of Western watercolour painting in terms of expression. The most distinctive feature is the "imagery" language of expression, which is closely linked to the cultural heritage of Chinese tradition and is of great value for research. I interpret the aesthetics, composition, colour and brushwork of Chinese realistic watercolour painting from the perspective of traditional Chinese aesthetics in order to deepen the understanding of Chinese realistic watercolour painting and to provide a reference for the further development of the art of Chinese realistic watercolour painting.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.4
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• pp.117-133
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• 2022

In order to reflect traditional elements in modern design, designers should be able to creatively apply elements of traditional Chinese clothing. To understand this, a deep understanding of and insights into the traditional clothing culture are required. In this study, the characteristics of traditional Chinese women's clothing from the Wei, Jin, and Northern and Southern Dynasties of China to the Qing Dynasty were analyzed by dividing them into silhouette, color, pattern, materials, and detail. The characteristics of the silhouette were classified into A, H, X, and O types, of which types A and H were the most common. As for the color characteristics, there are relatively many five cardinal colors, and for the contrast of colors complementary colors were mainly used. As the for pattern characteristics, real patterns, animal patterns, character patterns, geometric patterns, and mixed patterns were used. Four types of materials were mainly used: silk, hemp, cotton, and wool. The detail characteristics were also anlyzed by classifying them into collar, sleeve, neckband, and gusset. Based on the results of this analysis, a satisfaction survey was conducted on the design of modern Chinese women's clothing. The result of satisfaction with design elements showed that the images of vest and suit were most preferred, H and X silhouettes, and yellow and white were the most preferred. Geometric and plant patterns were preferred, as were silk and acetate materials. Based on the result of chi-square analysis of design element preferences according to the characteristics of the subject, there was no difference according to occupation, residential area, or income, and there were differences in silhouette, color, materials, and detail according to age.

• Nuclear Engineering and Technology
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• v.51 no.2
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• pp.490-494
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• 2019

Experimental studies to investigate the behaviors of hydrogen in molten FLiNaK (LiF-NaF-KF) have been conducted at $500-700^{\circ}C$. On the basis of previous studies, the diffusivity and solubility of hydrogen in FLiNaK have been revised, and the expressions can be correlated to the following Arrhenius equations: $D_{H2}=1.62{\times}10^{-5}{\exp}(-48.20{\times}10^3/Rg{\cdot}T) m^2/s]$ and $S_{H2}=1.03{\times}10^{-4}{\exp}(-14.96{\times}10^3/Rg{\cdot}T) [mol-H_2/m^3/Pa]$, respectively. The behavior characteristics of deuterium in FLiNaK were studied and compared with the hydrogen behaviors in FLiNaK. The results showed the behaviors of deuterium were consistence with the behaviors of hydrogen in FLiNaK. The difference between hydrogen and deuterium has not been observed upon the experimental research of the behavior characteristics of hydrogen and deuterium in FLiNaK, which suggested the results obtained here might apply equally to the behavior characteristics of tritium in FLiNaK.

• Cross-Cultural Studies
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• v.27
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• pp.319-346
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• 2012

The idiom is the fixed phrase with the traits of stable patterns, habitual uses, historic and ethnical characteristics. The numeral is categorized under the substantial, it represents the quantity or sequence, it can be divided into cardinal numerals and ordinal numerals. Although a considerable of the Korean numeral idioms generated from Chinese numeral idioms, however, due to various factors such as different historical background, customs, and language structure, in the long term, Korean and Chinese numeral idioms formed different characteristics in many aspects. This paper mostly examines the outside form of numeral idioms in Korean and Chinese. The aim is to summarize the different system of Korean and Chinese by analyzing the rules of the numeral idioms in Korean and Chinese.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.3
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• pp.85-97
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• 2024

In recent years, the Guochao style of virtual idols has proliferated, and the virtual idol market in China has witnessed gradual growth. As Guochao combines traditional Chinese culture with modern aesthetics, it shapes a distinctive visual identity for Chinese virtual idols. We address the current research gap by exploring the characteristics of Guochao style in virtual idol design through literature analysis, semiotics, and comparative studies. We examine how Guochao virtual idols represent the convergence of Chinese culture and modern technology, reflecting cultural characteristics of the era. Through our analysis of virtual idol design, we identify key design features of Guochao virtual idols, bridging a theoretical void in this area. We propose recommendations to foster a more dynamic and culturally enriched virtual idol industry in China. Our research provides new insights into integrating Guochao elements into virtual idol design as an approach to differentiate amid competition while promoting traditional Chinese culture through digital media. We demonstrate how this design approach enhances the uniqueness and cultural value of Chinese virtual idols, contributing to the field's theoretical foundation and practical applications.

• Korean journal of food and cookery science
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• v.21 no.5
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• pp.607-615
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• 2005

The purpose of this study was to analyze the characteristics of Chinese foods in main ingredients, sauces, and cooking methods, and to assess the applicability of kochujang in Chinese foods. Twenty Chinese foods and commercial kochujang were selected by a Chinese head cook. The main ingredients were 24 kinds such as pork, chicken, shrimp, bok choy, bean curd, Chinese noodles etc., which were generally used in Korean foods. The main Chinese sauces were 11 kinds, and soy sauce was used in 12 foods, shang loo tau soy sauce in 2, wine in 8, oyster sauce in 7, rice wine in 6. The classification of cooking units in all Chinese foods was performed and the cooking frequency was deep frying>pan frying>boiling>stir frying>steaming>roasting. The proper amount of kochujang (weight ratio) was decided by pre-test of the Chinese head cook and Chinese food added kochujang was assessed by a Chinese focus group. The overall preference of Chinese food added kochujang was assessed highly and was related to the kinds of sauces, and to the kinds of main ingredients. The foods which used soy sauce or shang loa tau soy sauce were preferred. Sweetness by using kochujang wasn't preferred in several foods. Saltiness and aftertaste by using kochujang didn't affect the food preference, and the intensity of color and pungency were evaluated as a moderate level. An increased amount of kochujang would be possible in several foods. However, the increase in the amount of kochujang for intensive color and pungency in Chinese foods was directly related to the increase of sweetness, which had been discussed as the main problem in lowering the preference. Therefore, the screening of various Chinese foods harmonized with kochujang and the determination of the proper mixing ratio with Chinese sauces are very important. The results of this study could be used as basic data for the promotion of kochujang consumption in the Chinese market.