• The Korean Journal of Community Living Science
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• v.15 no.1
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• pp.17-26
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• 2004

Not much is known about Korean clothes from past centuries. Fortunately, we are able to make some inferences based on various sources of data other than the actual clothes themselves. Historical records such as Kim Hong-do's Pungsokhwa Pieces, well known to us, vividly depict features of the costume and the lifestyle of his time along with contemporary Korean humor and atmosphere. Kim Hong-do is the artist who, having accomplished pictorial refinement, recognized social change and took this into his artistic world late in the 18th century. The ruling classes, in contrast, tended to adhere to anachronistic medieval philosophies in a gradually changing society. In this study, Kim Hong-do's Pungsokhwachop, Treasure No. 527, preserved in the National Museum of Korea, was viewed from a new perspective, and it was discovered to have assorted the costume and culture of ordinary people according to their life styles. Fourteen of the pieces depicted how common citizens made their living, three described love affairs, five depicted people at play, md the rest showed elements of education, wedding ceremonies, and shamanism, respectively. Various types of clothing were observed reflecting the life styles of ordinary people, and a somewhat bold exposure of body was noticed in women's fashion in the late Chosun Dynasty. They chose clothing as they pleased to fit their jobs and functions, which produced elegant self-regulation and creativity based on practical beauty. A hat - yet to be found as a relic - appeared in Blacksmith's Workshop, and revealed the changing social customs of the late Chosun Dynasty in the 18th century. It is hoped that the results of this study will serve as a valuable reference point for the globalization of Korean clothes.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.47-59
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• 2015

This paper studies the conservation treatment of Lady Shim's costume, which was excavated in Jecheon Province in 2012. There were the significant problems, which were encountered in the treatment of the costume ; First the Jeogoris were transformed during the excavation, Second fibers were seriously deteriorated, Third most of the fabrics such as Chusa were readily deformed. To overcome these problems and to secure stability in the conservation treatment, we decided to alternate between two different washing methods ; dry cleaning by n-hexane and wet cleaning by water. The costume shape was recovered by steaming and by swelling with Hanji(Korean traditional paper). The combined cleaning method proved to be relatively efficient and stable. In addition, the shape of Chusa was well preserved by dry cleaning.(using n-hexane also solved the problem of bad smell after washing with organic solvents.) The effects of the conservation treatment on the excavated costumes could be seen in the change of Lab color difference. Washing made the distribution of Lab color difference narrower, which may suggest that the impurities on the fiber was removed by washing. In addition, the value of L was greater than a-value and b-value after the treatment. This result indicates that the change of value represents the change of color difference by cleaning.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.2
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• pp.341-351
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• 2017

This study evaluates a cleaning method to maintain and minimize the change of blood soil for the selective removal of stains from textiles with historical significance and special meaning. Cotton and silk fabrics were soiled with blood, aged artificially and then washed by wet cleaning or dry cleaning (water, nonionic surfactant; Triton, natural surfactant; saponin, organic solvent; n-Decane). The washed fabrics were stored at room temperature for four years. The change of the blood soil was evaluated by SEM, weight, thickness, and color differences. Subsequently, the shape and the amount of blood adsorption on the fabric varied depending on fiber type and fabric structure characteristics; in addition, long term storage affected changes to blood soil. It was difficult to remove artificially aged blood soil from fabrics by wet or dry cleaning. However, the changes of the blood soil by these cleanings can be explained by the changes on SEM, weight, thickness and fabric color. The changes (especially color) showed over time. Wet cleaning showed that the changes of those factors were slightly lower than those by dry cleaning.

• Korean Institute of Interior Design Journal
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• v.15 no.2 s.55
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• pp.150-157
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• 2006

Founded on a close relationship between exhibition scenarios and media, this study was conducted 1) to establish exhibition arrangement types by using three analytical indicators, such as arrangement types of exhibition, groupings of similar exhibition media, and exhibition density; and 2) to demonstrate the importance of considering the characteristics of exhibition arrangement types by using viewing behavior codes as a major analytical indicator. The following three types were investigated in this research: First, the Independent type (Type C) was found to be strongly influenced by architectural and spatial forms, especially by low exhibition density and high visual information. Also, compared with the Wall Dominant type, low number of viewing behavior codes and distribution was found even though there were high correlations among viewing behavior codes. This is assumed to be due to low exhibition density. Second, the Wall Dominant type (Type A) was found to be not influenced by architectural and spatial forms. This is because space is planned and restructured centering on the wall type showcases. At the planning stage of exhibition, it is easy to divide or combine space according to the contents and structure of exhibition scenarios. Compared with the Independent type, low correlations were found among viewing behavior codes. This is due to low participation or manipulation exhibitions. However, this implies that more active viewing behaviors can be induced if appropriate exhibition techniques and arrangement methods are used for each exhibition content. Third, the Independent Dominant type (Type B) was found to confuse visitors in selecting routes by displaying too many exhibits at a limited space in a disorderly fashion. It failed to attract visitors to the main exhibition area, where a big space is formed in the center. Visitors were found to view exhibits that are arranged near the major traffic line.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.76-90
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• 2015

This is a basic study of the two remaining armors (artifacts number K2366, K2368) from the late Joseon dynasty that is part of the Korean costume collection, which is preserved in the Mission Museum of Saint Ottilien in Germany. The armor No. 1 (artifacts number K2366) is a coat-styled armor with brass studs. It has a U-shaped neckline with the non-overlapping collars and sleeve straight-lined inseam. The armor No. 1 has the Mu to the sides and is not back slit. Both its inner and outer material are padded with cotton. Leather mails are attached on the inner lining, and studs are attached on the outer lining to match the leather mails. For this reason, the armor No. 1 can be named MyeonPiGab (brass studded armor consisting of a cotton coat with internal leather mails). The outer material is faded to have the natural white, or antique white look and the patterns on it are indigo blue. The inner material is blue, but the original color is unknown since it is faded. The lotus blossoms and vine patterns are dyed on the surface of the outer material and a name is written on the inner material. The armor No. 1 was worn between the late 17th century and the 19th century. It is estimated that it was worn by military officers who were above the mid-rank in the end of the Joseon dynasty. The armor No. 2 (artifacts number K2368) is a coat-styled armor with brass studs and a low-cut U-shaped neckline. The armor No. 2 has a slit on the left armpit and a string around it. Studs are evenly attached on the armor. The iron mails are attached to the left chest area on its inner lining. It seems that it was designed with both formality and functionality in mind. The outer material is red flannel, the inner material is blue satin and the pads are cheesecloth. The side of its collars, cuffs, front lines, sidelines, back slit, and bottom lines are trimmed with fur. There are armors called "JeonCheolGap (brass studded armor consisting of a felt coat with internal iron mails)," which is similar to the armor No. 2, however, the similarities are limited because they are not made of the same material nor do they follow the same principle of nomenclature.

• Cartoon and Animation Studies
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• s.42
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• pp.195-212
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• 2016

An interest in 'ordinary things' has been increased because public things become issues as the influence of mass media including mass production has been increased in the 1950s. And this phenomenon drew an art style of pop art in the world of art. Media art means that the fine arts are expressed by means of media such as TV and monitors because media has been developed in the modern society. It started emerging through the artists such as Nam June Paik, Bill Viola, and others in the 1960s. Recently, it can be easily accessible not only at the art museum but also in everyday life such as cafe, park, fashion show, performance, and etc. This study analyzed that how many different techniques of pop art were borrowed by especially Nam June Paik media art and how they influenced it. Accordingly, this study respectively analyzed expressive techniques and characteristics of both pop art and Nam June Paik's media art and then searched for their similarities based on the analysis. Both Nam June Paik's media art and pop art extended media by using various ordinary things in everyday life neglected previously as a material. Next, the characteristic of pop art shown in Nam June Paik's media art is participation with audience. While the arts in the past were high-level culture that only certain people could understand and enjoy, pop art or Nam June Paik's media art is an art trend that has led the popularity of fine arts and audience participation in order to let diverse classes enjoy without any specific knowledge.