• 한국의류산업학회지
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• 제14권2호
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• pp.211-221
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• 2012

The word 'chintz' is thought to be a corruption of spotted cloth. Printing remained a relatively primitive method of decorating textiles in Europe until the second half of the 17th century. The formation of the English East India Company sparked the influx into the West of painted and printed Indian cotton textiles. A William Sherwin took out the first English patent in 1676. The earlist European designs were florals in the Indian manner. Patterns of European flowers returned to England as birds, flowers, trees, vines and stained glass for Victorian chintz. In France, the original and most successsful manufacturer of the distinctive printed fabrics from Jouy was Christophe Philippe Oberkampf. Copperplate printing was introduced to Jouy in 1770, probably reaching the pinnacle of achievement in the craft after 1783 when Jean-Baptiste Huet became chief designer. Huet's style was widely imitated in France and abroad, and the term 'toile de Jouy' has come to be universally applied to monochrome figurative designs wherever and by whomsoever they were produced. Oberkampf served his apprenticeship as an engraver with some leading manufacturers, including a period in Mulhouse. In Alsace, which was not part of France until 1798, the first factory had opened in 1746 in Mulhouse, and the area soon had the largest number of print-works in France.

• 한국한의학연구원논문집
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• 제15권1호
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• pp.91-94
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• 2009

Understanding the present condition of Oriental traditional medicine in different country is demanded for the Korean Traditional Medicine to prepare his orientation in future. Also it is not possible to separate the present condition of OTM from history of oriental medicine as a whole. This is valid for the introduction of TCM in the west. The first information have arrived in Europe by the terrestrial and maritime travelers accounts. The diplomatic way, with special reference to Jesuit fathers, has brought cultural and theoretical precise data. The physicians of East India Company and, later, of expeditionary forces, have supplied with practical data. Five periods follow one another: 1) Period when the source reached and are used in Europe. This first step is intimately involved with the use and comparison of similar factor between the two medical systems ; 2) "Discovery" and use of needles ; 3) latent period when techniques coming from acupuncture source were developed ; 4) "Chinese Acupuncture" correctly speaking ; 5) modern period or investigating period, when Eastern and Western people are trying to correlate data of traditional medicine with those of western science. In particular the actual situation from 2000.

• 패션비즈니스
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• 제22권1호
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• pp.100-113
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• 2018

From the late 17th to the early 18th century, Europeans were strongly intrigued by products from the East. Therefore, several countries like England, France, and Netherlands formed the 'East India Company' to pursue trade. First, European markets rapidly responded to this desire for exoticism by importing goods; then, they produced imitation Oriental goods. Finally, they made stylistically advanced exotic merchandise from the perspectives of European. In terms of the textile industry, this trend was expressed in the pattern design of silk, or the so called 'bizarre silk.' In this paper, bizarre silk patterns were scrutinized based on a digital archive of museums, catalogues of museums, portal sites, and the literature. The bizarre silk patterns were analyzed then classified into six categories: pseudo-Oriental plant pattern, pattern mingled with architectural motifs, pattern of juxtaposed with Oriental goods, abstract pattern, exuberant pattern with metal threads, and semi-naturalistic pattern. These patterns were characterized according to the following features: strangely large exotic floral patterns were undulating and asymmetrical; exotic foliage and flowers were sometimes mixed with architectural motifs or Oriental goods to easily show the Oriental influence; motifs of bizarre silk patterns were abstractly stylized; bizarre silk patterns became luxurious once more like the Baroque period; finally, floral patterns became more natural, and still exotic motifs remained in the background to maintain the bizarre silk features. These bizarre silk patterns evolved from the viewpoints of Europeans through acceptance stage, compound stage, and confluent stage.

• 복식
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• 제64권7호
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• pp.29-44
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• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• Asian Pacific Journal of Cancer Prevention
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• 제16권6호
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• pp.2119-2128
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• 2015

Cancer is the leading cause of death around the world. Anticancer activities from many functional food sources have been reported in years, but correlation between cancer prevalence and types of food with anticancer activities from crop origin center in the world as well as food source with human migration are unclear. Hunger from food shortage is the cause of early human evolution from Africa to Asia and later into Eurasia. The richest functional foods are found in crop origin centers, housing about 70% in the world populations. Crop origin centers have lower cancer incidence and mortality in the world, especially Central Asia, Middle East, Southwest China, India and Ethiopia. Asia and Africa with the richest anticancer crops is not only the most important evolution base of humans and origin center of anticancer functional crop, but also is the lowest mortality and incidence of cancers in the world. Cancer prevention of early human migrations was associated with functional foods from crop origin centers, especially Asia with four centers and one subcenter of crop origin, accounting for 58% of the world population. These results reveal that coevolution between human's anticancer activities associated with functional foods for crop origin centers, especially in Asia and Africa.

• 한국철도학회논문집
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• 제16권2호
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• pp.151-162
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• 2013

본 연구는 일제강점기의 우리나라 철도와 만주철도를 비교하였다. 양국철도는 공히 제국주의 철도라는 공통점을 가지고 있었지만 서로 다른 성격을 가지고 있었다. 첫째 만주철도는 정부주도하의 민간철도라는 성격을 가지고 있었다. 우리나라 철도는 철도수입위주였지만 만주철도는 철도이외에도 지역개발, 광산, 항만 운영 등 다양한 사업을 전개하였다. 두 번째 만주철도는 우리나라 철도에 비해 수익성이 좋았고, 화물위주의 수송이었다. 세 번째로 철도관료의 경우도 우리나라는 주로 정부 관료들이 임명되었지만 만주철도의 경우는 정당정치에 의한 정치가, 외교관 등 다양한 계층에서 임명되었다. 관동군으로 편입된 이후에는 군의 영향력이 컸다. 공통점으로는 제국주의 철도였기 때문에 정부정책 특히 시기적으로 철도는 군사적 목적에 활용되었다. 특히 만주철도의 경우 대륙에서의 전쟁수행이라는 면에서 직접적인 영향을 받았다고 할 수 있다. 향후 같은 시기의 일본 본토 그리고 대만과의 비교연구를 통해 동아시아 철도의 공통점과 차이점의 부각을 통해 우리나라 철도의 성격이 새롭게 조명될 수 있을 것으로 기대된다.

• 동남아시아연구
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• 제21권2호
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• pp.329-358
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• 2011

The pottery and porcelain of Myanmar is very various such as Celadon, Black glazed large Jar and White galzed Jar painted Green Colour. In these Myanmarese Ceramics, Black glazed large Jar is very important to understand the Character and Role of Myanmar Ceramics. The description on the Black glazed large Jar of Myanmar is seen in several Books such as a travel essay of Ibun Battuta, Duarte Barbosa, The book of Duarte Barbosa: A Account of the Contries Bordering on the Indian Ocean and their Inhabitants, Jan Huygen van Linschoten, Volker, T., Porcelain and the Dutch East India Company These descriptions on the Black glazed Jar in these Books are important evidence to discovery the existence of it and its Types and Price and Use. The appearance of Black glazed Jar of Myanmar is considered in the Middle of 14C with the description of the Book of Ibn Battuta. Furthermore, Excavated from the Shipwreck of China in the Sinan, Chellanamdo, it is certain that the Black glazed large Jar was already existed in the early of 14C. And it was considered that the Shipwreck of China in the Sinan, Chellanamdo was started from Ninbo(寧波) of China to the destination of Japan with the Inscrition made Bamboo. So we know that The route of $Ninbo{\rightarrow}Korea{\rightarrow}Japan$ is very important in the Trade Ceramics of East Asia in 14C. And The size of Black glazed Jar has 3 types, Large, Middle and Small. The large type is used as a Tools for Water and Oil. The small type is the personal bottle for drinking. The Price of Black glazed Jar of Myanmar was changed as times go by. The price of the late of 16C and the early of 17C is 30 prolin and the late of 17C is 8 Prolin. The price of the Black glazed Jar of Myanmar in the late of 16C and the early of 17C is estimated 3 times for the price of the late of 17C. and This change of the price of Myanmarese Black Glazed Jar is decided on the Demand and Supply. and the Black glazed Jar of Myanmar was mainly used for the tools for Morpin in the year of 1620 and for Salt and Sugar in the year of 1640 and for Water and Oil in the late of 17C.

• 미술이론과 현장
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• 제14호
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.