• 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.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.1
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• pp.89-96
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• 2003

The court dancing suit, so-called "JeongJae(呈才) suit," has been worn by court dancers. Since the court dancing suits in the age of the ancient Three Kingdoms and Koryo Dynasty have already been studied previously, this study discussed the change of dancing suit styles created in the latter period of Chosun Dynasty, such as GaInJeonMok-Dan(佳人剪牧丹)ㆍGoGuRyeo-Mu(高句麗舞)ㆍGongMak-Mu(公莫舞)ㆍManSuMu(萬壽舞), and the thought of Yin-Yang and five elements(陰陽五行思想) that the colors of the court dancing suits imply. The purpose of this study is to understand the thoughts contained in the ancient suits as well as their styles in order to inherit and uphold our traditional culture properly. properly.

• Journal of the East Asian Society of Dietary Life
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• v.7 no.1
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• pp.12-135
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• 1997

Color(and appearance)is one of the most important visual attributes in food. The favorite color of food is depend on the nation and its culture. Unfortunately the word on color ash superseded appearance as the description of the total visual perception of food. The optical properties are color, gloss, translucency, the uniformity of these attributes over the surface of the product, and the appearance boundary condition visual flavor. The major purpose of this lecture is to stress the importance of color and gloss on the basis of sensory evaluation for vegetables and these cooking process. These points are as follows: 1. Color and palatability Principle of cooking ; five tastes and five colors 2. Pigments and colorimeter Plant pigments ; Chlorophyll, Carotinoid, Anthocyan Optical properties and colorimeter Correlating instrumental and pigments data 3. Color, gloss of vegetables Effect of color and gloss on several cooking treatments 4. The importance of color of foods to the food industry and consumer

• The Journal of Korean Medical History
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• v.30 no.2
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• pp.83-100
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• 2017

Research purpose : Review of the systematized medical theory of Huangdi within the first series of conversations including questions and answers between Leigong and Huangdi. Conclusions : 1. "Huang-di-Nei-Jing" records the 5 theories of Huangdi's system of thinking (黃帝學派). Among these, the contents of the questions and answers with Leigong led to the establishment of the first of Huangdi's treatises. 2. In the questions and answers exchanged between Leigong and Huangdi, the Suwen (素問) Chapter deals with the areas of Yinyang, Zangfu, Cause and Mechanism of diseases, as well as medical ethics. Moreover, the "Lingshu (靈樞)" Chapter discusses distribution of meridian system, routes of circulation of energies, symptoms, acupuncture therapy and diagnosis, etc. 3. Characteristics of the medicine of Leigong and Huangdi can be summarized as follows: Firstly, 12 meridian systems of the "Jingmai (經脈)" section describes the meridian system that ceaselessly circulates in the shape of loops with the inner and outer aspects linked with each other. Secondly, regarding the methods of diagnosis, the "Yinyangleilun (陰陽類論)" section describes the method of diagnosis through palpation of pulse. In addition, the "Wuse (五色)" section describes visual diagnosis that uses five colors. The Wuhang combination of spleen, liver, kidney of "Shicongronglun (示從容論)" section also includes the Wuhang theory of "Jinwenshangshu (今文尙書)". The "Wuse" section discusses areas of the face and five colors, while the "Yinyangleilun" discusses the 'Yinyancixiongmaifa (陰陽雌雄脈法)', the "Jingmai" discusses the 'Yinyancunkoumaifa (人迎寸口脈法)', and the "Zhengsishilun" and "Fangchengshuailun" discuss 'chifuzhenfa (尺膚診法)'. Thirdly, Huangdi's school of thinking did not neglect bencao (本草) and tangye (湯液), which are discussed in the "Jiejingweilun" and "Shicongronglun" sections.

• Journal of Fashion Business
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• v.5 no.5
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• pp.87-96
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• 2001

The purposes of this study is to supply information on the most common and generalized purchasing conditions of suits in China by surveying male customers from Beijing, Shanghai, Dalian, Tianjin, Harbin and Guangzhou with ages from 20's to 40's. Statistic data from the questionnaire was analyzed by SPSS 10.0 for windows and the analyzing method was processed by descriptive statistics, cross analysis and dispersed analysis and for verifying similarities, t-test and $\chi^2$-test were used. The results could be summarized as follows; First, Purchasing places for suits were stores specializing in men's wear, department stores and reasons for purchasing suits were 'For business' and 'Change of season'. Two, for purchasing information provider, television worked as the key source of providing purchasing information and outdoor advertisement, for main influence of purchasing, the consumers answered that they are the key decision makers and replied their wife or girlfriend's opinion as the answer. Three, for number of suits in possession, answered three suits followed by more than five suits and for the purchasing period, the consumers chose one suit per year or every 6month. Four, according to the questionnaire on prices, colors, fabrics and styles of suits they buy, the consumers pay between 1,000 and 1,999RMB per suit and for the colors, black, dark gray and deep blue. For the choice of fabrics, said pure wool. For the styles of the suits, answered single three buttons. Five, the result from a question on the level of satisfaction shows 'satisfied', 'average' and 'very satisfied' with the purchase.

• Journal of The Korean Astronomical Society
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• v.44 no.5
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• pp.195-200
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• 2011

We have revisited the ACS Virgo Cluster Survey (ACSVCS), a Hubble Space Telescope program to obtain ACS/WFC g and z bands imaging for a sample of 100 early-type galaxies in the Virgo Cluster. In this study, we examine 51 nucleated early-type galaxies in the ACSVCS in order to look into the relationship between the photometric and structural properties of stellar nuclei and their host galaxies. We morphologically dissect galaxies into five classes. We note that (1) the stellar nuclei of dwarf early-type galaxies (dS0, dE, and dE,N) are generally fainter and bluer with g > 18.95 and (g-z) < 1.40 compared to some brighter and redder counterparts of the ellipticals (E) and lenticular galaxies (S0), (2) the g-band half-light radii of stellar nuclei of all dwarf early-type galaxies (dS0, dE, and dE,N) are smaller than 20 pc and their average is about 4 pc, and (3) the colors of red stellar nuclei with (g - z) > 1.40 in bright ellipticals and lenticular galaxies are bluer than their host galaxies colors. We also show that most of the unusually "red" stellar nuclei with (g-z) > 1.54 in the ACSVCS are the central parts of bright ellipticals and lenticular galaxies. Furthermore, we present multi photometric band color - color plots that can be used to break the age-metallicity degeneracy particularly by inclusion of the thermally pulsing-asymptotic giant branch (TP-AGB) phases of stellar evolution in the stellar population models.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.1 s.41
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• pp.111-122
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• 1992

Studying the dress style of the Buddhist Goddess of Mercy SU WOL KWAN EUM DO (Drawings on the Buddhist Goddess of Mercy who is watching the Moon reflected in the still water), it is composed of a splendid, jewel crown with five colors, a light and flimsy, non-colored veil with many kinds of gold·plated patterns. This gold·plated carapace figures on a scarlet ground are drawn on the veil and the oval-type flower figures mixed with a scarlet lotus blossom ard arranged. An arabesque pattern of BOSANGHWA (an imaginary, Buddhistic flower figure) is mainly used for both line decorations and necklace. Like this, various kinds and types of figures are in harmony in spite of many changes in figure design. The SU WOL KWAN EUM DO in Koryo dynasty is full of colorful, subtle, harmonious figures which are unique style, which cannot be found in japan, China, and so on. In other words, most of most of dress patterns which are shown in SU WOL KWAN EUM DO are China ink paintings with mountains and waters as its setting. In case of color painting, figure designs are seldom used. The dress pattern in SU WOL KWAN EUM DO of koryo dynasty is characteristic of its variety and magnificent colors.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.38-47
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• 2010

The purpose of this study is to examine the characteristics by design component elements of the facade in elementary school buildings after the 7th educational curriculum. This study choose twenty five elementary school as the subjects of the study. And among many elevations of building, an elevation that is alongside of the schoolyard is chosen because this elevation has the highest visual influence on passers-by. To begin with, this elevation is divided into the roof and the surface of a wall, The roof is divided into roof styles, existence of roof and materials. The surface of a wall is divided into design principles(balance, contrast, rhythm), the formal organization(basic elements and form, and transformation of form), the ornamental composition, materials and colors. The results of the research are summarized as follows: First of all, motifs of classical architecture were well expressed in this period and postmodern tendency had been shown until 2005. After Build Transfer Lease(BTL), however, tendency of classical architecture, contrast by the size of the form and base element by point disappeared. Instead, asymmetrical and flat tendency is expressed. Also, emphasized design of the building elevation appear by basic colors of Munsell, not motifs of classical architecture.

• Journal of the Korean Society of Costume
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• v.50 no.4
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• pp.73-87
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• 2000

The court dancing suit, so-called "JeongJae(呈才) suit," has been worn by court dancers on the occasion of the royal court′s feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national quests from foreign countries. There are 53 kinds of court dancing suits, ranging from the age of the ancient Three Kingdoms to the period of Chosun Dynasty. The court dancing suits are divided into two styles : DangAk-JeongJae(唐樂呈才) style and HyangAk-feongjae(鄕樂呈才) style, depending on dancing styles. Since the court dancing suits in the age of the ancient Three Kingdoms and Koryo Dynasty have already been studied previously, this study discussed the change of dancing suit styles created in the latter period of Chosun Dynasty, such as YukHwaDae(六花隊), MuSanHyang(舞山香) and ChoonAengJeon(春鶯), and the thought of Yin-Yang and five elements(陰陽五行思想) that the colors of the court dancing suits imply. The purpose of this study is to understand the thoughts contained in the ancient suits as well as their styles in order to inherit and uphold our traditional culture properly.

• Journal of the Korean Society of Costume
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• v.49
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• pp.137-154
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• 1999

This study was designed to unify two types -traditional and western- of wedding dress in one and to develop new wedding dress which can be used to wedding ceremony as well as Pae-Bae(Greeting) as an alternative for the modernistic utilization of traditional wedding dress. The wedding dress for a bride and bridegroom was developed to be used not only for wedding ceremony but also for engagement. The children's dress which can be worn for carrying flowers in front of a bride and a bridegroom was also developed. All six dresses two of each for a bride and a bridegroom one of each for a body and a girl were developed from the review of literature and photos to be introduced traditional wedding dress. The results were as follows: 1. The Korean characteristics in the developed dress were expressed well in the curves straight lines oblique lines and cracks. 2. The traditional symbolic meanings were expressed by using the pattern which was on traditional wedding dress. Changes from five original colors -red, blue, yellow, white, black- to pastel colors also could modernize the dress. 3. The Korean characteristics could be effectively expressed in dying techniques and piling -up by using hand-made silk and No-Bang, 4. The children's dress for a ceremony was re-established to modernized design with traditional beauty. 5. The expenses could be saved practically because the dress was developed for wedding ceremony as well as for engagement.