• 한국의류학회지
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• 제24권1호
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• pp.24-33
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• 2000

The purpose of this study was to investigate the characteristic and image of oriental costume design on represented among three countries, Korea, China and Japan. The specific objectives were; 1) to identify the design characteristics of oriental costume. 2) to investigate the hierarchic structure of oriental costume image and the meaning structure of oriental costume image. The stimulus were 75 costume design of contemporary costume which represented the traditional image of orient. The main survey of questionary consisted of their evaluation of the oriental costume image by 26 semantic differential bi-polar scales and the subjects were 99 female students majoring in clothing and textiles. The data were analyze by Cluster analysis. Factor analysis, ANOVA, Scheffe test. The major findings were as follows; 1) As a result of design analysis, costume design of Korea, China, Japan had differences on form, color, texture, pattern, ornament, etc. 2) The hierarchic structure of oriental costume image consisted of elegance, sexy, feminine. Through factor analysis about oriental costume image 7 factors were identified; Attention, Attractiveness, Sexiness, Activeness, Weightness, Classics, Classics, Maturity. It was found out strongly that Korean costume image was simple and comfort image, Chinese costume image was sexy and feminine image, Japanese costume image was luxurious and mature image.

• 한국식생활문화학회지
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• 제24권6호
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• pp.649-654
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• 2009

This study has a purpose of suggesting the basic data to achieve customer satisfaction by understanding the preference of each type of restaurant industry for the taste of customers in 20's referring to 8 images. In the preference for style of image in dining space, the participants responded that they prefer natural, modern and romantic image, and both male and female participants preferred natural image. Participants responded that they prefer natural, romantic and modern in sequence as their general preference for style of image in dining space, and male participants preferred modern and natural but female participants preferred romantic and natural. The survey that was conducted for different menus has suggested that the reasonable image for fast food is casual, hard casual and classic for hotel restaurant, casual for school restaurant, romantic for cafe, casual for western restaurant, simple for Japanese restaurant, classic and elegance for Chinese restaurant and natural for Korean restaurant. According to the result of the analysis of dining space image, factor 1 are called 'cold image (CI)' as they have simple and modern image, factor 2 are called 'soft image (SI)' as they have natural and romantic image, factor 3 are called 'warm image (WI)' as they have casual and elegance image and factor 4 are called 'hard image (HI)' as they have classic image.

• 한국멀티미디어학회논문지
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• 제16권10호
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• pp.1163-1170
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• 2013

디지털 워터마킹은 저작권 보호와 멀티미디어 데이터 인증의 수단으로 사용되어 왔다. 기존의 공간영역에서의 CRT 기반 워터마킹 방법은 JPEG 압축에 취약하여, JPEG 압축에서 잘 동작하는 DCT 영역에서의 CRT 기반 워터마킹이 제안되었다. 본 논문에서는 DCT 영역에서의 향상된 CRT 기반 워터마킹 방법을 제안한다. 제안한 방법은 DCT 변환시 발생되는 rounding 오류 또는 여러 가지 공격에도 나머지들의 차에 대한 절대값의 변화를 감소시켜 견고성을 향상시킨다. 실험을 통하여 제안한 방법이 기존의 DCT 영역에서의 CRT 기반 워터마킹 방법보다 여러 가지 공격에 대하여 견고성이 향상되는 것을 확인하였다.

• International Journal of Internet, Broadcasting and Communication
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• 제15권3호
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• pp.82-87
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• 2023

<Deep Sea> is an 3D animated film that stands out for its exceptional special effects and distinctive artistic style. The film employs a multitude of dazzling and vibrant ink particles, creating a strong sense of three-dimensionality and weightlessness, while simultaneously portraying a dreamlike and elegant representation of a deep sea ink painting. Furthermore, through the utilization of fragmented stream of consciousness narrative technique, the film establishes a unique artistic effect infused with a Chinese atmosphere. This paper by analyzing the unique particle ink art style and color and stream of consciousness narrative methods in film, this paper discusses the innovative art style generated by traditional ink art style combined with three-dimensional technology, and the integration of traditional ink art ideas and artistic conception in animated films. The objective is to cultivate a new ink art style and prove the importance of traditional cultural expression in animated films, while providing new perspectives for the future application of traditional art in animation.

• 복식
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• 제61권2호
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• pp.60-71
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• 2011

This study set out to examine Hakchangui worn in Joseon around the 18th century and further the relationships between the Chinese Hakchang and Joseon Hakchangui, as well as to figure out spread factors of Hakchangui. The study proceeded as follows: 1)The Hakchangui was examined those appearing in the collections of works and paintings after the 17th century. 2)The Zhuge Liang's Hakchang was researched through Romance of Three Kingdoms, paintings and sculptures. 3)The images of Hakchangui wearers described in literature were investigated to understand the symbolic meanings of Hakchangui in Joseon those days. Those research efforts revealed four findings: 1)In many cases, the Hakchangui worn in Joseon in the 17th and 18th century has side slits, but no back slit. It's both sides of the center front were parallel, not overlapped. 2)Hakchangui was strange to the Joseon people until the end of the 18th century but started to permeate among those who liked classic style. 3)The aspects of Zhuge Liang were standardized in the combination of 'Yungeon, Hakchang, a feather fan and a wagon' in Romance of Three Kingdoms. 4)Zhuge Liang was considered as a symbol of wisdom and loyalty and had an image of a Taoist hermit who transcended the mundane world. The analysis of the research findings led to two following conclusions: 1)ln Joseon the Chinese Hakchang was introduced to people who had exchanges with Chinese or liked classic style in the 17th and 18th century and gradually spread by their advocates. 2)The Hakchangui must have been increasingly worn by more Joseon scholars because they started to borrow the image of Zhuge Liang driven by the popularity of Romance of the Three Kingdoms and the tendency of reinforcing Zhuge Liang's image as a loyal subject by the kings of Joseon.

• 한국콘텐츠학회논문지
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• 제11권1호
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• pp.387-395
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• 2011

본 연구는 관광동기 및 관광상품 체험성이 관광 이미지에 어떠한 영향을 미치는지 알아보고자 하였으며 연구결과는 다음과 같다. 첫째, 한류관광객의 관광동기는 관광 이미지에 영향을 미치는 것으로 나타났다. 둘째, 관광상품 체험성이 관광 이미지에 영향을 미치는 것으로 나타났다. 이를 통해 첫째, 한류관광객의 관광동기 차이에 대한 파악이 필요하다는 것을 알 수 있었다. 둘째, 한류 관광상품 개발에 있어 관광객들에게 체험성을 제공해야 된다는 것을 알 수 있었다. 이를 바탕으로 정부차원에서의 한류관광시장 조사, 기업차원에서의 다양한 콘텐츠를 활용한 한류관광상품 개발, 학술적 차원에서의 이론적 기초자료 정립을 위한 다양한 연구진행 등에 대한 방향을 제시하였다.

• 한국의류산업학회지
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• 제22권6호
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• pp.739-751
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• 2020

This study compares and analyzes bridal wedding styles in Korean and Chinese SNS. For this, 715 photos (362 in Korea and 353 in China) collected on social media (Instagram and Xiaohongshu) were used for analysis. The bridal wedding style was divided by item into wedding dress, makeup, and hairstyle, and detailed characteristics of images and designs were examined through content analysis and statistical analysis. First, in the case of Korea, many wedding dresses showed ball gowns and mermaid silhouettes, white colors, and no details and trimmings. As for the makeup, transparent and natural skin expression, straight eyebrows, and pink and peach lip colors were highlighted; and as for hairstyles, many long hair with half-covered ears appeared. Second, in China, a ball gown, mermaid silhouette, and white color are often seen in wedding dresses, and point colors and use of various details and trimmings are noted. The makeup showed a lot of bright skin expression, brown and black eyebrows, and red and brown lip colors. As for hairstyle, a lot of long hair with completely exposed ears appeared. Third, the comparison of bridal wedding styles between Korea and China indicated that China used relatively more details and trimmings in wedding dresses. As for makeup, Korea has a natural image, and China has a classic image. As for the hairstyle, there were many styles in which Koreans had half the ears covered, and Chinese had no bangs and completely exposed ears.

• 한국식품조리과학회지
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• 제19권6호
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• pp.715-722
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• 2003

The purpose of this research is to analyze the preference of Korean food and the satisfaction level with the service of Korean restaurants for Japanese and Chinese students in Korea. Self administered questionnaires were collected from 204 Japanese and Chinese students in Korea. The data were statistically analysed using t-tests, one-way ANOVA and their correlation. The most preferred Korean foods were Bulgogi, Kimgui, Haemul-pajun, Kalbi-tang, Bibimbap, Youkgaejang, Ssalbap, and Aehobarkjeon, in that order. Female students liked Korean food more than male students (p＜0.05), and Japanese students more than Chinese students (p＜0.001). of foreign students, 44.3％ replied that they had teamed about Korean food at school, and 34.48％ tried to cook Korean food at home. The foreign students answered that hygiene and cleanness were the most important factors to be improved for Korean restaurant. Other factors to be improved are the variety of menus, price level, taste, service, atmospheres, and quantity, in that order. Korean restaurants should strive to provide a high level of service and improved quality of Korean food, not only to foreign students, but also to other foreigners and tourists to present good image of Korea.

• 패션비즈니스
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• 제26권2호
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• pp.110-128
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• 2022

The purpose of this study was to analyze the expressive characteristics of Chinese shadow puppetry costumes. Literature study and case analysis were conducted using books, research papers, and materials from the Xi'an shadow puppetry museum. Based on the Chinese traditional costumes, the shape characteristics are utilized with the intaglio and embossing techniques, and the complex and unnecessary details are omitted to express the costume image in a characteristic and simple manner. Second, colour was used according to the traditional Chinese symbolic colour concept, and the brighter the colour, the higher the role's status. The colour was also used to express identity and character. In addition, relatively vivid and highly saturated colours were used for the transparent effect of the shadow puppetry. Third, a role's status is indicated by the density and completeness of the patterns; the higher the role's status, the more complex and sophisticated the patterns, and the lower the status, the simpler the patterns or no patterns are used. Fourth, the faith for blessing expressed in the shadow puppetry is a representative folk auspicious culture. The repertoire of the shadow puppetry and the patterns on the costumes worn by the puppets, express the culture in an implicit way to symbolize the meaning of auspicious things.

• Asian Pacific Journal of Cancer Prevention
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• 제15권4호
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• pp.1831-1835
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• 2014

Background: To investigate the relationship between extracellular matrix parameters and texture of prostatic lesions evaluated by transrectal real-time tissue elastography (TRTE). Methods: 120 patients suspicious for prostate cancer underwent TRTE. Targeted biopsies were carried out after 12-core systematic biopsy. Epithelia were stained with hematoxylin-eosin, and Victoria blue and Ponceau S were used to stain elastic-collagen fibers, and picric acid-sirius red for visualization of collagen type I (Col1) and III (Col3). Smooth muscles were visualized by immunohistochemistry. All image analyses were performed in a blind manner using Image Pro Plus 6.0, and the area ratios of epithelium, elastic fibers, collagen fibers and Col1/Col3 were determined. Results: 42 patients with typical elastograms were included in the final data analysis. Significant differences were detected between the benign and malignant groups in the area ratios of epithelium (P = 0.01), smooth muscles and Col1/Col3 (P = 0.04, P = 0.02, respectively). There were no significant differences in the area ratios of epithelium, smooth muscle and elastic fibers between the stiff and soft lesion groups. The area ratio of Col1 was ($0.05{\pm}0.03$) in the stiff group, and ($0.02{\pm}0.01$) in the soft group (P= 0.00). However, the area ratio of Col3 was ($0.03{\pm}0.02$) in the stiff group, and ($0.05{\pm}0.04$) in the soft group (P = 0.16). Col1/Col3 in the stiff group ($1.99{\pm}1.59$) was greater than in the soft group ($0.71{\pm}0.64$) (P = 0.01). Conclusions: Tissue hardness of prostatic tumors was mainly dependent on the Col1 content, Col1/Col3 being higher in malignant than in benign lesions, so the prostate tissue texture can be used as a target for distinguishing between the two with TRTE.