• Journal of Fashion Business
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• v.7 no.3
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• pp.24-35
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• 2003

This study is intended to figure out marketing strategies of women clothing brands which are remarkably preferred and recognized among Chinese women in their twenties by analyzing and comparing the features of products between Chinese fashion brands and Korean brands. This study result is follow as: 1. As the result of women fashion brands in China, it became certain that the differentiation policy of each brand and the strategy of development design reflected the needs of Chinese consumers in 20s were preferred in Chinese fashion market. 2. As the result of comparing and analysing the strategy of Korean brands' clothing product entered China market, some of them reflected well Chinese women' inclination who are in their twenties. Therefore with the proper positioning and the strategy of actual place, those Korean brands are prominently preferred. However others can not be the leading brands because of supplying inharmonious basic-style product with the preference of Chinese women in 20s.

• Fashion & Textile Research Journal
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• v.14 no.2
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• pp.251-260
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• 2012

Nowadays, global wedding dress companies are interested in the Chinese wedding market because of expectations in consumption patterns of the post 80's generation. Therefore, wedding behavior, selection criteria for wedding dresses, and favored image by segmented groups targeting 20's to 30's Chinese women were studied to help the Korean wedding dress industry to establish their business in China. The survey was conducted in Shanghai city and three neighboring cities-Wuxi, Zhengziang, and Hangzhou-, and the primary data were analyzed using the SPSS program. As results, Chinese women thought that the wedding ceremony should be elegant and dignified, and they wanted to choose their favorite style rather than a recommended style. The criteria of selection were classified into four factors. Overall image and well fitting with their face and body were the most important factors in the selection of wedding dress. The most favored image was unique/novel image. Several favored images for their wedding dress were significantly different by occasion (ceremony day and photo shoot day) and education level. People of higher education level preferred more luxurious and classic image during the ceremony, and a classic and gorgeous image on the photo shoot day. A white dress and a colored dress for weddings were favored more than the Chinese traditional dress on both occasions. There was also a significant difference between general consumers and the wedding business employees in the quantity of wanted wedding dress.

• Journal of the Korean Home Economics Association
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• v.25 no.1
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• pp.19-34
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• 1987

This thesis is for the study of hair style and consciousness concerning Korean awris hairs. Our nation had been originally considered to be a people without decorating their hairs. The adults however used a bundle of hair which was twirled, and the bachelors wore original hair befor wiman chosun in B.C. 194. Since then this twirled bundle of hair had been consistently used until the end of the chosun period from the Three-Kingdom period, except Mongolian hair style which was used for one hund-red years during the Won's oppression period at the time of Koryo. The bachelor's hair style not being adorned was developed into that of twirled bundle of hair which was used for on the Three-Kingdom period to the Koryo period, but this was also transformed into the current hair style ？ mainly to the decree of short-cut hair style in 1895 and the prevolent western clothes. The origin of meins hair style in Korea was a hair without decoration which was same as that of Ski-tie people in Western country, but our style was different from that of Manju and Mongolian people who have same kinship relationshup. And our nation was greatly influenced by the Chinese culture in view of the Twin-Knats style of the unmarried. Our people's consciousness uwderlying in hairs shows resped for seniors, standard between dults and adolescents, magics, and desine for ornaments.

• 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 Society of Costume
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• v.64 no.6
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• pp.161-175
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• 2014

This paper investigates the differences between characteristics of street fashions due to regional and cultural differences in southern and northern region of China. Beijing and Shenzhen were chosen as representative cities for the two areas. Empirical research and literature study were performed for this study. Empirical studies were performed by using a total of 708 images of dresses, which were collected through direct imaging. Through discussion with experts, the collected data were classified into five categories; Modern trendy, Romantic, Easy casual, Ethnic, and Classical/Traditional. The data was analyzed by using cross tabulation and frequency analysis. Content analysis for each category was also conducted. As a consequence of this study, a significant difference between Beijing and Shenzhen were observed. As a city, which puts emphasis on practicality and modernity, Beijing showed a higher frequency of modern and trendy style than the other city. On the other hand, Shenzhen showed a higher frequency of romantic style and was distinguished as a city of femininity and decorative preference of fashion style. This study intends to contribute to the academic community of Chinese fashion and to help Korean clothing companies to be launched in Chinese market in the future.

• The Research Journal of the Costume Culture
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• v.12 no.4
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• pp.599-613
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• 2004

The purpose for this paper is to find the common characteristics of Korean traditional clothing, which is largely affected by Chinese arts and culture. There are many different theories about Faking Opera＇s orgine but an established character is an ensemble song and dance. It virtually represent overall Chinese arts. There are four characters in the Peking Opera ; Sheng, Dan, Jing, and Chuck. Sheng is divided into Nosheng, Sosheng, Musheng and Hongsheng based on their dramatic skills. Also, Sheng requires various acting skills : song, dance, dialogue, act and fighting skill. Peking Opera＇s stage costume was set up in Qing dynasty though it＇s style was embellished with mainly Ming dynasty＇s clothing style. The rankings and personalties of the role are strictly applied to decide what to wear. Artistic exaggeration, symbol and transfiguration, use of colors are equally important in planning the stage costume.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.689-693
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• 2008

Ancient Chinese in the roof of the building referred to as "the big roof". This paper make a research on style of roof,to find out the identify contemporary social construction of a representative, the distinctive features of varying roof styles with examples. Using pictures and text, contrast to the situation, to explain why the roof of the ancient form of modern architecture can be widely used. Ultimately concluded that the ancient traditional roof styles in contemporary architecture in the use of a wide range is traditional culture and promoting the inheritance.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.69-83
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• 2013

Clothes show not just the different social status of people, but the ideology and value of former society through pattern, colour, materials, shapes, etc. The purpose of this article is to fill the academic blank of this part by researching the pattern of fabric design in Jing Pai(Beiing style) and Hai Pai(Shanghai style) cheong-sam during the period of the Republic of China. The contrastive analysis of regional pattern between Jing Pai and Hai Pai cheong-sam expect to provide the theoretical basis for the former fashion designers and scholars. There are three approaches in the article: Data collection method, comparison method and Combining theory with practice method as film. Regarding components of pattern, both Jing Pai and Hai Pai cheong-sam have mostly single or composite pattern like plants. Further the most of Jing Pai cheong-sam pattern is traditional flower pattern. But Haipai cheong-sam patterns have some western flower pattern. Beside that, it have some geometry pattern. Regarding arrangement of the pattern, both cheong-sams have scattered dot style, the border style, and pictures style. But continuous type of Jing Pai cheong-sam is less while Hai Pai cheong-sam is the most. Comparing Jing Pai cheong-sam color of patterns in "Moment in Peking" is unadorned and types are simple as chinese traditional clothes; However, "In the Mood for Love" introduces us various material colors, new types of patterns and extraneous characteristic geometry patterns of Hai Pai cheong-sam. Generally speaking, the main characteristic of Jing Pai cheong-sam is traditional and conservatism. It keeps Chinese traditional pattern and culture to the most extent. However, Hai Pai cheong-sam are confluent and open with absorbed external culture and techniques which are endowed new artistic color.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.67-75
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• 2012

This Study is concerned with the Design Characteristics of Korean, Chinese and Japanese brick church architecture. The main subject of the study is to investigate the commonness and difference between Korean, Chinese and Japanese brick church architecture in the early stage(1880-1920). In carrying this study into execution, I examined the architectural and historical backgrounds based on the preceding research works, and analysed the plan, the spacial composition, design elements, techniques and materials, etc. The result of this study is as follows ; The basic concept of composition of space is same in order to embody the Basilican space, but the inner elevation and detail of brick structure is different. Chinese churches are more close to Western basilican style church in the point of shape and plan, but in the point of inner elevation and decoration of church, Japanese churches are more close to Western style church. Korean churches are in the middle of its. There are different attitudes of naturalization of western church architecture in Korea, China and Japan.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.57-72
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• 2006

Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. In the beginning, only foreigners danced these dances, but Chinese started to dance them gradually. Thus, the dancing costume showed the complete fusion of Chinese and exotic styles. Especially, in the Tang dynasty, Chinese accepted foreign culture very actively and with open hearts. They accepted foreign culture based on their traditional culture, and fused them completely. In these costumes, not one culture was prominent, but many cultures from Gandhara to East and West Turkistan and even to Persian and Hellenism were synthesized together. Chinese, in the Tang dynasty, retained on their traditional culture and modified new foreign culture into Chinese style.