• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.124-144
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• 2008

This study is taken as the part of the cultural research on the Kaspian coastal region, which has a great significance as the start of human civilization and in the history of cultural exchange. This study is focused on the Achaemenid dynasty of the great Persian Empire that Iranians have established on the Parsa region, south of Iran on 6-4th century B.C. This research limits to the tribute-relief illustrated on the stairs of Apadana Palace in Persepolis during the age of Achaemenid dynasty. The objective of this research is classify and analyze Persians and its neighboring tribes, their dresses and the detailed elements of the dresses to complete the typology of the dresses in that period and use this to categorize the features of nomadic and agricultural tribes of costal areas of the Mediterranean Sea to Northern India and study the cultural exchange and its effects. Furthermore, we aim to use the above typology to revise the typology of the Korean traditional dresses that were formerly just sorted as a type of coat-trousers that classified as a nomadian Scythian dress type. The results of above analysis are as follows: The clothing of many tribes living in the coastal areas of Mediterranean Sea to the Northern India in the Achaemenid dynasty of Persia on 6th century B.C. shows that the typology of the dressings have close relationship with the region they live in. Such typology is displayed differently from tribes east and west of Iran. The tribes west of Iran showed characteristics of an agricultural tribe and the tribes east of Iran displayed features of a nomadic tribe. In addition, uniformed styles of dressing were displayed amongst many tribes sharing a common lineage. Such inference came from the fact that similar styles of dressings were identified not only in tribes east of Iran but also in tribes west of Iran.

• The Journal of Engineering Geology
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• v.10 no.2
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• pp.79-97
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• 2000

Trend of earthquake occurrence of Korea represents that the term from 1978 to 1982 may be called as "active period", the term from 1983 to 1991 is rather tranquil, and from 1992, the occurrence number is increasing greatly. Instrumental earthquake observation of Korea started in 1905 by Japan. It continued until 1943 and ceased then through social disorders such as the independence from Japan Empire and the civil war. After that the observation restarted in 1963 by the establishment the World Wide Standard Seismograph Network. And the fundamental earthquake observation period started in 1978 with the Hongsung earthquake event. KMA(Korea Meteorological Administration) has constructed and operated the 24-hour earthquake and tsunami monitoring system and it propels new construction project of the national seismographic network system. In the result of this project, KMA operates 27 seismic networks, 42 accelerator networks, seismic analyzing system, and sea level monitoring system now. It has the plan to enlarge these systems that 31 seismic networks and 75 accelerator networks until 2001.

• Fashion & Textile Research Journal
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• v.6 no.6
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• pp.723-730
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• 2004

The purpose of this study is to speculate on the history and the meaning of so-called "princess fashion" based on the feminist's viewpoint. While many designers in Korean fashion world have fostered the trend of princess fashion, relatively little insight has been developed regarding its socio-cultural meanings. For this problem, the researcher traced the historical background and the development of the princess fashion in both the western and the Korean fashion world. As a case of the princess fashion study, Andre Kim(a renowned Korean designer)'s collection was selected and analyzed since he has often been a central figure for the princess fashion trends in Korea. Here the operational definition of the princess fashion is the lavish dresses designed based on the western court dress styles. As a result, the researcher found that the princess fashion was originated from the eighteenth century in France. In the nineteenth century, male designers took over the role to make extravagant dresses such as empire and crinoline dresses which became the prototypes for the princess fashion. In Korea, the western court dress style was introduced at the end of the nineteenth century and it became a uniform of prostitutes during the Korean War. By analyzing Andre Kim's collection, it is found that his romantic dresses imitated the nineteenth century court dresses. Therefore, from the feminist's viewpoint, his princess fashion is a mere reproduction of anachronistic styles reflecting inferior and passive images of women. The researcher draws a conclusion that today's fashion should transcend the princess fashion that signifies the female's submissive-masochistic roles operated by the male's sexual expectation.

• Journal of Science and Technology Studies
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• v.5 no.2 s.10
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• pp.69-95
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• 2005

Eunsa Memorial Science Museum is a political space to justify ruling colony. Japanese imperialism made use of science museum in ruling colony under the cloak of propagating science thoughts. The science museums made it natural to rule the inferior Joseon(Korea) by bring the concept of 'Great Science Empire' into relief. The exhibition, lecture, experiment and science movies propagated those colonial ruling ideology. This transplantation of the colonial science museumraised the following problems. First, the science museum was used as means for the propagation of political power. All the aspects of the architecture, exhibition, and operation of the colonial science museum propagated and supported the direction of political authority, and furthermore planted a rosy phantasm of 'Development' and 'Progression' into the colony. Second, The science technology of science museum was treated as 'Result' and 'Instrument'. Japanese imperialism denied that the science is a historical and cultural staple product; it instilled only the 'Instrumental Rationality' in the colony. Third, the science technology dealt in the colonial science museum was below the level. What they educated and set forth as domestic science was to cultivate the laborers people for the political power by internalizing modernistic discipline.

• Journal of the Economic Geographical Society of Korea
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• v.17 no.4
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• pp.675-687
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• 2014

After colonization by the Japanese Empire, Seoul had experienced structural changes during the 1920s. As the number of residents increased dramatically, the land price of Seoul began to skyrocket, bringing about a new type of real estate developers. They invented a new type of hanok, which is very small compared to a traditional hanok, by dividing a large parcel of land into several small pieces. These hanoks were built by Korean developers who ran their business like modern developers today-acquiring large piece of land, developing and selling the property, and even providing financing schemes to buyers in some cases. However, the Korean developers mainly provided housing to the poor Koreans suffering from housing shortage. At the time, many Koreans worried that the City of Seoul would turn into a Japanese city, since the Japanese were trying to expand their real estate development to the north of Cheonggyecheon. However, their development plans have been neglected, as a result of the development activity of the Korean Jerry-builders in the north. The purpose of this paper is to reevaluate the role of the Korean developers in real estate development during the colonization period, especially in the 1920s.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.59-72
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• 2005

Architectural embodiment of a national identity has long been a significant topic in Korean architectural circles. For this reason, it must be helpful to examine the so-called, 'National Romanticism' of Finnish architecture around 1900 in that Finnish architects of the time struggled to embody their national identity through their projects. Considering the historical and linguistic affinities between Finland and Korea, the Finnish architectural situation draws . our additional attention. This paper aims at showing its historical background, the meaning of each type of buildings in the stream, and limitations it implies. The atmosphere of Finnish nationalist movement, which was provoked by [Kalevala] publications (1835; 1845) and shown in Karelianism, was heightened by Tsarist Empire's Russification programme of Finland in the late 19th century Architecture was one of the most important genres expressing her national identity. Finnish national romantic architecture could be divided into three. The first is a log house style for artists' studio house, motivated by the Finnish vernacular farmstead - especially by Karelian farmhouse. This type of building signifies the Finns' will to return to their motherly soil. The second is a stone architecture style for public buildings, inspired by Finnish church or castle of an early medieval time. By using roughly-cut granite as the main exterior material, buildings of this type symbolise the toughness of legendary heroes and Finns' desire for national Independence. The third type of building was based on both of the former or more dependent on architects' Imagination and creativity. However, Finnish national romantic architecture has been criticised by some critics owing to its decorative, eclectic and self-indulgent characteristics. Probably, it was not really national but rather inter-national because of the Influences of English Arts and Crafts Movement, the American Richardsonian architecture and the continental Art Nouveau. And the negative images of 'national' and 'romantic' made some historians coin other terms like 'national realism' or 'material realism'. As another limitation, one raises the low degree of its contribution to the entire architectural history. Despite these criticisms, however, this paper argues that Finnish national romantic architecture is meaningful in itself, particularly because it illustrates vividly Finns' struggle to search for their national identity and, after all, their craving for national independence.

• Journal of Digital Convergence
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• v.18 no.3
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• pp.357-362
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• 2020

By analyzing abstract book cover design, this study aims to examine the applicability of the semiotic methodology of Roland Barthes and to conduct a preference survey of how people would accept it. The selected books for the study are and published in Openbooks publishing company to mark the 30^th anniversary of the opening. The research results are as follows. First, it was confirmed that Roland Barthes' semiotic approach is a suitable tool for identifying the symbolic phenomena of visual elements that constitute abstract book cover design. Second, people were well informed of what the abstract form of design conveys, but they showed personal differences in preference, making it difficult to achieve clear results. This study, together with the importance of the internal meaning that appears in the book cover design, gives graphic designers an indication that interaction between the communicator and the acceptor should be sought.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.29-42
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• 2012

Historically, the pattern and technology of Copts' textiles, who were a minority in Egypt, have been studied a lot in the textile sector due to its unique characteristics. Unlike ones in other regions that appeared around the same time, the overall configuration ratio of the patterns looks exaggerated or distorted because they expressed it plainly by interpreting the world with ordinary people's eyes. Also, because it had used mixed linen and woolen yarns, harsh expression way and the use of various colors have been one of the features in Coptic textiles. Coptic textiles, which have been developed along with the historical development of continued domination from neighboring countries, have expressed the effects of the Roman Empire, Christ, Christianity, and Islam on the pattern of its fabric. This study analyzed its characteristics which make people smile by the way of expressing a simple and humorous representation of the textiles and categorized them as Humoristic Beauty - the aesthetic category of humorous feature. In this study, the Humoristic Beauty in Coptic textiles has been analyzed in terms of the following three smiles; the smiles coincidental with the flow of time, the smiles made by the shaping of distorted proportions and appearance, and the smiles like folk-paintings made by a rustic expression way. This study shows the possibility of the further studies on the textile patterns history from a different angle. I look forward to more detailed analysis in the follow-up studies in the future.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.100-117
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• 2010

This thesis has three main purposes: first, will show kinds, patterns, types, expression techniques of modern korean women's trimmings by every ten years. Second, it is to trace the effect of each decade on women's Hanbok trimming designs. Third, it will point out factors. that caused the change of modern Korean women's Hanbok trimming design patterns. Henceforth, there comes the result of the research and analysis. Trimming design patterns of modern women's Hanbok can be divided into three categories temporally: The first period of from 1910s to the first half of 1950s saw that design patterns did not changed much from traditional ones. It is because there were many catastrophes such as the invasion of Japanese Empire and Korean War. The compound design had expressed people's wish to earn many sons and babies at the end of Joseon Dynasty. But it turned to wishing luck for individuals affected by individualism and liberalism imported from the west. Realistic designs are the most frequently used and the least lines made up patterns. The second period of from the latter half of 1950s to 1970s saw that women wore their Jeogories and Chimas as suits. Screen printing technique enabled for various design patterns to come out. And the development of textile industry introduced various expression techniques such as making lace, meshing, flocking, burn-out etc cetera. The third period of 1980s saw that Hanbok became a kind of luxurious clothe as people's living standard rose. Hanbok again came into the spotlight, Hanbok designers came forward and their individualities are respected. The characteristic expression technique of grey-dying and geometric design patterns are more frequently used for the simple and modern beauty.

• Journal of architectural history
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• v.19 no.6
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• pp.209-232
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• 2010

This thesis is to analyze the origin and transformation of the official building registers of Korean traditional temples, and also to suggest the amendment of their wrong archives. Especially, this study is to examine these subjects focused on Beomeo-sa which has maintained fine registers. The results are as follow; 1. In Chosun Dynasty, the Ip-an had been used, and in the period of Daehan-Empire, the Ga-gei had been used as each official registers for the common buildings. The other hand, the lists of properties and the legal registers had been used as official registers for the temple buildings between 1911 and 1962. 2. The current official building registers have been firstly recorded under in 1962. At that time, the current official registers have been also recorded for the Buddhist temple buildings. 3. Most of the official building registers of Buddhist temples are incomplete. Especially, these have usually the indistinct building names and wrong building areas. These were mainly caused by direct copying of the old registers recorded in 1956, the period of Buddhist confusion. Furthermore, the registers have been poorly operated by monks and offices. 4. Therefore, the registers has to be corrected as follow; The omitted buildings have to be added and the duplicated buildings have to be removed in the summary heading registers. The indistinct building names recorded in 1956 have to be correct into actual proper building names. The wrong building areas recorded in 1956 have to be correct into actual measurement building areas.