• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.280-288
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• 2012

The objective of this study was to analyze the characteristics of traditionality expressions at modernized Chinese restaurant in Hong Kong. As a case study, the study examined 12 modernized Chinese restaurants in Hong Kong. The gathered data were categorized and examined according to the ways of traditionality expressions, which included reproduction, transformation, and reinterpretation of traditional components. Each of the components was measured for the amount of traditional or modernity expression on a five-point scale. The five-point scoring system put an emphasis on tradition; 1 point was given to principal modernity(modernity: 90-100% + tradition: 0-10%), 2 points were given to principal modernity + auxiliary tradition(modernity: 70-90% + tradition: 10-30%), 3 points were given to the same ratio between tradition and modernity(modernity: 40-60% + tradition: 40-60%), 4 points were given to principal tradition + auxiliary modernity(modernity: 10-30% + tradition: 70-90%), and 5 points were given to principal tradition(modernity: 0-10% + tradition: 90-100%). The analysis performed according to those criteria and methodologies led to the following findings and conclusions: TM style, in which modernity was principal, usually did transformation and reinterpretation of traditionality. As for the design attributes of the styles, the TM style, they processed a majority of the spatial components as modern or reinterpretation of traditionality, which would be easily considered to be modern without careful observation, and applied a small amount of direct reproduction or transformation, which gives out a direct hint at traditionality, to attract more attention. Many of the spatial components did not express traditionality directly, expressing it indirectly or metaphorically. Traditionality was expressed in a small number of the spatial components, thus serving as a focus or impact point in the given space.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.1
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• pp.1-13
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• 2023

This study examines the effects of Chinese consumers' lifestyles on pursuing the benefits and purchase intentions for athleisure wear. Chinese female consumers aged 20 to 40 in Shanghai and Chengdu, who have purchased athleisure wear were selected for a survey, and 510 questionnaires were collected. Data was analyzed using SPSS 26.0 software. Factor analysis, reliability verification, regression analysis, and discrete analysis were performed. As a result, Chinese consumers' lifestyles were classified into three categories: 'personality orientation', 'show-off orientation', and 'health orientation'. There were four benefits: 'situation pursuit', 'practicality pursuit', 'fashion style pursuit', and 'appearance pursuit' for athleisure wear. Among the lifestyle types of Chinese consumers, "individuality-oriented" showed a positive effect on "pursuit of practicality", "pursuit of situation", "pursuit of fashion style", and "pursuit of appearance" among the benefits of pursuing athleisure wear. Next, among lifestyle types, 'show-off orientation' showed a positive effect on 'individuality' and 'appearance pursuit'. Finally, among lifestyle types, 'health-oriented' showed a positive effect on 'pursuit of practicality' and 'pursuit of appearance'. On the other hand, Chinese consumers' lifestyle types of "show-off," "health-oriented," and "individuality-oriented" all exhibited a significant impact on their purchase intention for athleisure wear. According to age groups and location, there is no significant difference in terms of 'lifestyle', 'athleisure wear pursuit benefits' and 'purchase intention'. Compared married women and unmarried women, it was found that unmarried women value their health and leisure, while those with a lower their educational background, considered the lifestyle of "individuality-oriented" and "show-off-oriented", as well as "situation-pursuit", "practicality", and "fashion style pursuit".

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.296-308
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• 2011

The purpose of this study is to understand Qipao, that Chinese traditional women's cloth, and analysis the aesthetic characteristics of that. Joining WTO in 2002 and 2008 Beijing Olympic made China get the attention by the world and get the opportunity that advent of China style. Chinese fashion cultural contents have abundant meanings in internal or external, therefore characteristics aesthetic of Chinese traditional fashion had much influence in world fashion design. Qipao that has influence in contemporary fashion design could be used special fashion design data for China market. A variety of literature and prior researches for Qipao's history and transition process was studied. Internal and external documents, fashion magazines, internet information were investigated to study features of Qipao. Total 20 seasons fashion collections from 2000S/S to 2009F/W was examined, and selected 22 brands that showed Qipao style, after then extracted 418 photos among them. By the seasons, Eit showed 193 pieces in S/S and 225 pieces in F/W, and was put to practical use in F/W season than S/S. The results are as follows. The contemporary fashion collections shown in the Qipao style silhouette, detail, color, material, pattern and the results obtained by each, were in all respects diversity. In silhouette, including traditional tight silhouettes, 'H' silhouettes, boxy silhouette was such a variety. The five colors traditionally preferred color from the color was more of a tendency to be gorgeous. Modern reinterpretation of pattern designs by graphic pattern that has emerged. Also, shown in a contemporary fashion collection Qipao style leather material in application utilizing the glossy feel of a plastic material and has emerged feeling.

• Steel and Composite Structures
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• v.28 no.5
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• pp.641-653
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• 2018

This paper presents experiment and bearing capacity analyses of steel dual-lintel column (SDC) joints in Chinese traditional style buildings. Two SDC interior joints and two SDC exterior joints, which consisted of dual box-section lintels, circular column and square column, were designed and tested under low cyclic loading. The force transferring mechanisms at the panel zone of SDC joints were proposed. And also, the load-strain curves at the panel zone, failure modes, hysteretic loops and skeleton curves of the joints were analyzed. It is shown that the typical failure modes of the joints are shear buckling at bottom panel zone, bending failure at middle panel zone, welds fracturing at the panel zone, and tension failure of base metal in the heat-affected zone of the joints. The ultimate bearing capacity of SDC joints appears to decrease with the increment of axial compression ratio. However, the bearing capacities of exterior joints are lower than those of interior joints at the same axial compression ratio. In order to predict the formulas of the bending capacity at the middle panel zone and the shear capacity at the bottom panel zone, the calculation model and the stress state of the element at the panel zone of SDC joints were studied. As the calculated values showed good agreements with the test results, the proposed formulas can be reliably applied to the analysis and design of SDC joints in Chinese traditional style buildings.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.3
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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.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.891-909
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• 2008

The purpose of this study was to examines the changes in Chinese women's clothing resulted from the introduction of Western culture in the first hal# of the 20th century in terms of Chinese view of the world and their attitude towards European culture. The clothes are divided into four types according to their characteristics : traditional Chinese type, China-Europe adjustment type, China-Europe blend type and European type. As for the research method, both literature and visual data are examined. The traditional Chinese type showed changes only in the width and length retaining the features of the traditional qipao until the 1910s. The China-Europe adjustment type used the same flat pattern making of traditional Chinese dress while imitating only the appearances of European one-piece, two-piece and three-piece dresses. It also was presented with European accessaries and hair-styles. The China-Europe blend type, starting to appear with the introduction of the three-dimensional pattern making from the Europe in the 1930s, showed a perfect mixture of European and traditional Chinese costumes in the early 1940s when the Chinese learned and adapted the European pattern making. The European type was the most modernized designs using a variety of European-style details and constructions as the traditional clothing started to have unrestricted European-style changes. Great significance can be found in the fact that the Chinese modified their garments by themselves using the pattern mating they learned from the Europe.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.97-114
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• 2009

The purpose of this thesis is to contribute to the fashion industry of Korea and China by providing the basic informations of Korean fashion company planning to launch into the Chinese fashion market, and also presenting the Korean fashion style to the China, by the way of searching the sameness and differences of the casual style. The direct picturing method and comparative analysis were applied for the methods of study. The whole body pictures were taken from the major fashion streets of Seoul and Shanghai, then clear 250 photos were selected in each city. The period for two weeks from 1st, July to 14th, July 2008, and from 10AM until 5PM. The results of study are as follows. The sequential order of frequency is easy casual, jean casual, romantic casual and character casual in Seoul and Shanshai. In case of easy casual, there were many similarities of the preferences in the items, colors and coordinations, while showing the differences in the styling of the clothing. Taking the jean casual, there were no specific differences in items between two cities except the styling of clothing in which the tidy style were more prevalent in Seoul, while the sexy style were more predominant in Shanghai. The main item of romantic style was the one-piece dresses. This was preferred in the style of A-line or H-line with short length, in Seoul while X-silhouette showing the body line with knee-length skirts were more popular in Shanghai. Finally the frequency of character casual is below 5% in both cities. In the items, the skirts were more preferred as a bottom in Seoul in contrast with the pants being more prevalent in Shanghai, the sleeveless top popular in both cities. The modest style were noted in Seoul, the sexy style were more prevalent in Shanghai. However many similarities between two cities were found in the speed of acceptabilities of fashion.

• International Journal of Advanced Culture Technology
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• v.8 no.3
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• pp.307-315
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• 2020

The physique and health status of Chinese college students have received a generous concern in recent years. The physical condition of Chinese college students is not good and this phenomenon is especially obvious among female college students, which has been an disputable fact. This study starts from exercise intervention to study the concrete influence of taijiquan (a kind of traditional Chinese shadow boxing) and five-animal exercises on human body balance ability; the study uses experimental apparatus to measure the specific impact of exercise intervention on human body balance ability; meanwhile, the study also applies data analysis to longitudinally study whether the two studied sports items affect body balance, and whether there is difference in terms of the influence of two sports items on human body balance ability. The conclusions are as follows: firstly, 24-style taijiquan and five-animal exercises can improve ankle muscle strength, and the focus and degree of the improvement are different; secondly, five-animal exercises have a better improvement effect on the flexor and extensor muscles of ankle joint and 24-style taijiquan is in the second place. Moreover, compared with 24-style taijiquan, there is no significant difference in terms of the improvement caused by five-animal exercises; thirdly, 24-style taijiquan has a better effect on the improvement of internal rotation and evertors muscle strength. Compared with 24-style taijiquan, five-animal exercises have no significant difference in terms of the improvement degree.

• Fashion & Textile Research Journal
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• v.5 no.5
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• pp.443-452
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• 2003

People have been getting interested in the Orientalism and it has come up in various areas due to scientific progress. I designed uniforms, which was simple and western, to show its symbolic meanings in the Orientalism. And I have been trying to generalize uniforms with originality and beauty. I have studied the process of the Orientalism and its changes and transitions, concepts and origins in history. And I applied the styles of Korean, Japanese and Chineses costume on it. I also referred to characters of uniforms, which already had images of Korea, Japan and China. Firstly, Korean styles have a contrast in colors by application of Taegeuk. And they gave lines with dark colors in black one-piece dress. This makes people who are wearing looking slimmer. White ramie top looks fresh and Korean traditional tie called Maedeup is set up for button. Secondly, Japanese styles were mainly Kimono style, one piece. They changed into two pieces designed to be active. So, it has emphasized the image of Kimono with Obi at the waist. Thirdly, Chinese styles basically are Chipao style, which has a Chinese collar and a long skirt, which has opening. But they gradually changed into short skirts and more open in the chest. For one of them, they gave lines in the side of chest, sleeves and skirt to be more natural. The costumes have kept their positions as a part of mass society that grows and changes with speed. And oriental uniforms are not just uniforms any longer only for work. It is quite symbolic like a 'second face' as it represents images for their countries and enterprises.