• The Research Journal of the Costume Culture
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• v.16 no.4
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• pp.661-680
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• 2008

The purpose of this study is to examine to change in the Chinese women's clothing according to the inflow of Western culture in the first half of the both century As for the research method, both literature and visual data are reviewed. Research results are as follows: The Step of transition in clothing by period followed beginning stage, adopted stage, early developed stage, fully developed stage, and static stage. fully developed stage showed a perfect compromise while being applied to Chinese costume with being introduced a three-dimensional cutting method of western clothing even to the constitution as well as to the appearance. Design elements from western clothing are as follows. The transition of silhouette is box silhouette, trapeze silhouette, shift silhouette, and fitted silhouette. In detail and trimming, tailored, band, convertible, shirts collar and zigzag, scallop, camisole neckline and puff, cap sleeve and flounced, bell shaped cuffs and western button, zipper, etc. are adopted. Finally, the Chinese modern style are formed by accepting and transforming the western clothing based on the traditional Chinese clothing.

• International Journal of Costume and Fashion
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• v.9 no.1
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• pp.1-14
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• 2009

This study is intended to examine the modernization of Chinese costumes through historical events, and to analyze the characteristics of the costume modernization process. The modernization of Chinese costumes appears to have begun with the Opium Wars, and the Nanjing Treaty(1842), the Beijing Treaty(1860) and the official residence of western people in Chinese territory. Afterwards, in order to initiate change, the Chinese people themselves implemented the Westernization movement(1861-94), placing an emphasis on the westernization of external elements such as technology and form, but aspects such as costume, deeply saturated in their traditions, do not appear to have changed significantly. Despite self-empowering movements such as these, as western forces diffused deeper into the Chinese mainland, neo-intellectuals formed the axis of a revolutionary movement. A major example can be found in the Xinhai Revolution(1911) revolution, which forbade the binding of feet and shaving of frontal hair and partially implemented western formal dress. Through these factors, the modernization process of Chinese costume demonstrates characteristics of an adherence to traditional dress and partial acceptance of western attire. Through this, we may understand the modern costumes of China, which adhered more to tradition than Japan, which pursued western costumes actively within a similar period, and Korea, which rushed modernization due to Japanese authority.

• The Research Journal of the Costume Culture
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• v.32 no.4
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• pp.547-563
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• 2024

This study aims to examine the expressive characteristics of the New Chinese style in the collection of Chinese fashion designer Ziggy Chen, analyze the inner meaning, and suggest a new direction in Chinese fashion design. As a research method, the background and concept of New-Chinese style occurrence were examined through previous studies, and the characteristics of the New Chinese style expression in fashion were investigated. The characteristics of the New Chinese style were summarized as cultural tradition, historical ethnicity, and pluralistic convergence. Based on these contents, the characteristics of the New Chinese style expression in Ziggy Chen's men's fashion design were analyzed. The data collection range was selected as the range of 20 seasons collected from 2012 S/S to 2022 A/W, which was collected on fashion sites and the brand's official Instagram. The analysis results are as follows. First, subcultural resistance is a retro and ragged decadence formed by combining punk elements and industrial styles based on the clothing styles of lower-class Chinese people in the 17th and 90s. Second, cultural traditionality was influenced by traditional culture by mainland Chinese designers, who expressed the conservative presence of tradition and the Chinese style by looking at it from an oriental perspective. Third, historical ethnicity forms a Chinese fashion culture in which the national spirit and the development of the times coexist, while traditional culture and contemporary social values develop in harmony. Fourth, traditional fashion develops by combining a contemporary aesthetic sense and lifestyle with pluralistic convergence.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.37-39
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• 2010

China's online games have been developed a decade, the online game development is very fast. The last monitoring from "gameScan$^{TM}$" shows that there are 6 local manufacturing MMORPG games in the top 20 in march 2010 of china.Through research top 4 MMORPG games, their graphic content is too similar. All of them are the subject of Chinese Martial-Arts and Chinese Mythology, the graphic design elements all from China's traditional culture. This phenomenon will be two defects, the first if the design follow the trend, it can reduce the risk of failure, but it'll lack of competitiveness also. The second is it can meet the needs of Chinese culture for the game players in china, but the complex Chinese mythology and the culture of Martial-Arts are not easy to be accepted for foreigners. There are many European and American games failed in China, because of the differences cultural, the Game players can't understand the history, religion and culture. so, we can get some experience from the successful game cases of Korea and Japan. Use of common cultural elements combined with some Chinese traditional culture to create a new fantasy world. And try some now contents about future or science fiction.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.905-917
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• 2021

Qipao is a national costume of China and a representative Chinese symbol with unique cultural meanings. This study first outlines the concept and development history of Qipao, sorts out existing literature, and summarizes the five elements of Qipao through previous study. Then, based on the theory of cultural levels and design characteristics, focusing on the design characteristics of the three levels of the outer level, middle level and inner level of culture, it analyzes the specific meaning of the five elements of Qipao. Through research, it was found that there are various developmental relationships between the three levels of culture for each element of Qipao. Through the study, it is found that Qipao, as a typical Chinese dress, not only has the research significance of design, but also has rich cultural connotations and diversified information on social, economic, technological, and fashion development. This study can enable us to fully understand the historical and social value and modern significance of the Chinese Qipao, and can provide basic data for fashion design researchers. This study is a basic research for the modernization of traditional Chinese clothing.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.156-165
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• 2014

The purpose of this study is to reveal the expression characteristics of Chinese and Sichuan traditional culture at the modernized restaurants which sells Sichuan food focusing on the Chengdu area. In terms of research methods, 12 selected Sichuan restaurants were visited from January 26th to February 1st, 2013 for the investigation research. The expression methods of traditional culture were divided into traditional reproduction, traditional transformation and traditional reinterpretation. The study results were as follows. First, in the external space components, facade has brought the Chinese and Sichuan local tradition as original or applied negative transformation like the replacement of the materials even though it is modernized. Secondly, in terms of the components of the internal space, as for the ceiling, the Chinese traditional culture transformed or reinterpreted the traditional ceiling structure, with which the culture was expressed indirectly. Thirdly, in terms of the decoration elements in the interior space, as for the furniture, various methods like the reproduction, transformation and reinterpretation of the Chinese traditional furniture were employed but there was none furniture which included the Sichuan local traditional culture. In a short, both of Chinese and Sichuan local traditional cultures were used as they were or transformed diversely or expressed colorfully.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.59-61
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• 2001

Along with the development of culture, dress of the Chinese people has also evolved over the last several thousand years, transcending its original functions of covering and protecting the body. As a result it has risen to become a complicated system of symbols full of intricate meanings. According to de Saussure's theory of "signs," signs are represented by the elements signified (meaning) (referent) and signifiant (sound) (exponent). "Phoenix crowns" were the headpieces most highly esteemed by women in ancient China. Actually, the name "phoenix crown" points to the fact that the headpiece is adorned with a phoenix design. The history and symbolism of the phoenix crown's use as a headpiece in Chinese weddings spans 1200 years in all, originating in the Qin Dynasty (241-210 BC) as a phoenix hairpin, evolving into the phoenix crown during the Song Dynasty (960-1276 AD), and continuing through the Ming and Qing Dynasties (1644-1911 AD), and the modem republic. It is not simply an ornamental headpiece, but instead represents the thousands of years or rich inner meaning the Chinese attribute to "dragons" and "phoenixes." This paper depicts the glorious past of phoenix crowns, using the metaphor and metonymy theories of semiology and semantics, and through the cross-verification of literature research archeological findings and reports, and old Chinese wedding photographs, in order to examine the inherent meanings of the phoenix crown in the Chinese culture.nings of the phoenix crown in the Chinese culture.

• Nuclear Engineering and Technology
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• v.52 no.10
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• pp.2290-2298
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• 2020

The damage of first wall material in fusion reactor due to the bubbles caused by plasma has been studied by introducing a relation between the von Mises equivalent stress and the temperature field. The locations and shapes of the bubbles and the synergetic effect between the different bubbles under steady operational conditions have been studied using the finite elements method. Under transient heat loads, plastic deformations have been found to occur, and are significantly enhanced by the presence of the bubbles. The calculated concentration locations of von Mises equivalent stress are well consistent with the observed crack positions of the tungsten surface in many test experiments. Our simulations show that the damage of the bubbles is not severe enough to lead to catastrophic failure of the tungsten armor; however, it can cause local and gradual detachment of tungsten surface, which provides a reasonable explanation for the observed pits and rough or hairy surface morphology etc. Considering the transient heat loads, the lower bound of the security thickness of the tungsten tile is estimated to be greater than 2 mm.

• Journal of Korea Multimedia Society
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• v.19 no.8
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• pp.1553-1563
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• 2016

Thesedays, not only a quality of a product but also a design of it plays an important role. Throughout this analysis, I would like to discuss how a design of package works in the cosmetics with the fact that low cost cosmetics sales better than high cost cosmetics. In this research, there are five samples each for Korean and Chinese low-costed cosmetics to yield a result about an element of package design. Based on that result, there was an survey about two different package design followed by the research problems. Throughout research, an attention and familiarity of package which was considered of characteristics of China was more effective on Chinese consumers. In order to activate the content market of cosmetics, it is utilized to manufacture taking into account the maximum of the design elements in the package design is a conclusion that affect the time of purchase. In this paper, one in which I hope to help in the development of being utilized as a basis article content market industry for pre-market research foray into the Chinese market is South Korean cosmetics.

• 보존과학연구
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• s.6
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• pp.121-196
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• 1985

Atomic absorption spectrophotometer was used for analyzing each 10elements(Cu, Pb, Sn, Zn, Sb, Fe, Ni, Ag, Co and Mn)on 64 Chinese coinsre covered from Shinan seabed sunken ship. The results show that Cu, Pb and Sn were found to be a major elements consisting of coins and its composition ratio was 6 to 2 to 1.The composition of trace elements on coins was classified 3 levels : Sb, Fe and Zn(0.02%-2.2%), Ag, Ni, and Co(50 ppm-5500 ppm) and Mn(Trace). Theam ount of major elements, Cu and Sn were decreased while increased in Pbby the passage of ages (10th - 13th century) in China. There seems to be no systematic compositional change in major elements but content in trace elements was confirmed to increase with age.