• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.131-142
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• 2006

This research has been done based on the Jeon Si Gwa(田柴科) regulation, the monumental inscription material and the former studies. The background of adapting the official uniform regulation in the early Goryeo Dynasty has been surveyed. Differentiating criterion in the official uniform color like purple(紫衫), red(丹衫), red(緋衫), and green(綠衫) has been studied. The official rank had been classified by the color of the official uniform in the early Goryeo uniform regulation. The lower class had worn purple(紫衫). The purple wearing class had not been the government post but the official rank. Those who worked for the Palace had worn purple color since purple color represented the Imperial Palace on which TAI-IL(太一), that is, the highest one of gods dwelt. Those who had worn red(丹色) in the monumental inscription had worked for the job associated with the military service or Hanlim savant(翰林學士) of Kwangmun Academy(光文院) and Hanlim Academy(翰林元). Dan Seo(丹書) which recorded King's commands also means the monumental inscription. In the Goryeosa(高麗史), the military class had been only in Dan Sam(丹衫). That means those class worn Dan Sam(丹衫) could have been as the strong supportive class for the Dynasty. In the early Goryeo Dynasty, the four colored uniform regulation had followed the enforcing policy of the royal authority. It has been assumed that the uniform regulation had been used as a way of enrolling the new supporting class into the existing official system. Dan Sam(丹衫) which had been worn only in the early Goryeo can be seen as the special class for strengthening the royal authority.

• Journal of the Korean Society of Food Culture
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• v.12 no.1
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• pp.17-22
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• 1997

The two Korean words, Solon-Tang and Su-Ra-Sang, are generally assumed as the names of Mongolian foods which seem to have been used in Korea due to the influence from the enhanced close relationships between Mongolia and Koryo. This indicates that the two words have very important meaning in stdying the relationship between the food culture in the central asia in those days and the terminologies used in the palaces in the eras of Koryo and chosun and so have attracted continuously the related scholars‘ attention. 1. The theory of folk etymology; it is originated from its cooking that first they cut meat into small pieces and put them into a cauldron and boil sulrong sulrong (which means such boiling state in that its water bubbles up) for a along time. 2. Early of the chosun time, the king himself comes to 'Sun-Nong-Dan' where he teaches the people how to farm and hold a large festival and after that they boil the cow meat soup and feed the people around there. At that time, they name and call the kuk-bub (soup with rice) which they eat at the 'Sun-Nong-Dan' 'Sun-Nong-Tang'. 3. The India Sanskrit Sura, a kind of liquid (in which component that have someone who takes it drunken) which gods enjoy themselves over, comes into the palace on the latter half of Koryo time via Mongolia and affects and becomes the Korean words. 4. The Mongol Suru or Sulru which is a cooking in that they boil meat putted in plain water comes into Korea under the special historic relation between Mongolia and becomes Solon-Tang. For the details of the above mentioned theories, we will fully discuss the origin through studying concretely the related books and mutual comparing history, linguistic periods and phonetic changes accordingly and the changes in meaning and vocabulary forms here.

• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.498-509
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• 2018

involves philosophical perspectives that are different from other SF movies. This perspective was derived from that of Zecharia Sitchin, in which he tells the history of the earth and mankind from a very unique perspective. He claimed that the intelligent beings (according to Sitchen, we called them the gods) on this planet created mankind and brought them ancient civilizations. The purpose of this study is to analyze under the determination that a comparative analysis can be made between SF movies and an art genre, in the outlook that Sitchin's perspectives are under extraordinary attention of religious and academic circles and are assisting in solving many mysteries on earth with currently excavated archaeological evidences, to identify the factors of consensus between the message Sitchin wanted to convey and SF movies and find the historical perspectives of Sitchin in the cross-section between Sitchin and the narratives in .

• Journal of the Korean Home Economics Association
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• v.38 no.8
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• pp.13-27
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• 2000

The background of single animal figures was originated from those northern mounted nomadic groups, which was Scythe style Culture. The art of the nomads working in the Scythian idiom was small in size and essentially decorative in intention, yet practically every object which can be associated with any unit in this group of people possesses many of the attributes essential to a real work of art. Clarity of conception, purity of form, co-ordination of rhythm and balance, and not least, an understanding and respect for the material employed were triumphantly blended by the Eurasian nomads to produce a distinctive style. In Scythian art the multitude of animal representations well illustrates the reoccupation of this nomadic people with animals in their environment. Usually only wild animals are represented. Commonly depicted are: stags and deer, lions or other large cats, eagles, birds heads (perhaps of ravens), griffins, snakes, hares, fish, goats, rams, boars, moose (elk), yak, sheep and bears. The occasional exception to the wild animal rule is domesticated horses-important because the Scythians were horse bleeders and their whole culture revolved around their dependence on the horse. The nomads had little reason to create object in honour of gods or men, but they had an instinct for beauty and the wish to surround themselves with the animal forms in which they had come to delight The Scytians tried to combine in a single rendering all the salient points of the animal they were delineating. They archived considerable success in the difficult task of showing in a single image the various and often incompatible poses assumed by a single animal in the course of its life. Zoomorphic motifs were used not simple for decorative effect, but to trim the object into amulets, with magical power to assist in hunting, and to protect the owner from harm.

• Journal of the Korean Society of Costume
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• v.25
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• pp.183-199
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• 1995

Among many different approaches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by including political , militarial , economical , cultural , and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes according to peoples social status. Generally people in high social status wore clothes with detailed decorations invariety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physical activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed it role to affect the clothing styles in Kokuryo. Based on old studies of costume, this study focused on people's life styles that included hunting and weaving . Hunting clothes were differentiated by decorating wit feathers . Jowoguan(조우관) is one of the examples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect , this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however men and women wear were claryly distinguished. Unlike other clothes that were restricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume . Monks wore black clothing (내의) that was influenced from China and the Western Regions(서역). To emphasize their religious power, Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of fire and agriculture wore simple dresses without much decorations which represented simple life style of working class.

• Journal of the Korean Society of Costume
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• v.25
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• pp.185-199
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• 1995

Among many different approches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by in-cluding political, militarial, economical, cul-tural, and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes accord-ing to peoples social status. Generally people in high social status wore clothes with detailed decorations in variety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physi-cal activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed its role to affect the clothing styles in Kokuryo. Baseed on old studies of costume, this study focused on people's life styles that included hunting and weaving. Hunting clothes were differentiated by decorating with feathers. Jowoguan is one of the exemples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect, this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however means and womens wear were claryly dis-tinguished. Unlike other clothes that were re-stricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume. Monks wore black cloth-ing that was influenced from China and the Western Regions. To emphasize their religious power. Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of five and agriculture wore simple dresses without much decorations which represented simple life style of working class.

• Fashion & Textile Research Journal
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• v.19 no.4
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• pp.400-410
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• 2017

Bactria was the intersection of transportation between Greece-Iran and Central Asia at the Silk Road. This kingdom was Greek in all of its ruling classes. Because the Greek culture of Bactria spread to India and the east, Bactria was a very important place in ancient civilizations. The purpose of this study is to understand the life and the various cultures of Bactria and the influence of Greek culture on the costumes of Bactria. The research method was approached through the analysis of the empirical data. Data on antiquities were analyzed in European exhibition catalogs and secondary data collected from Internet. The results of this study are as follows: First, the original costume of Bactria was identified in two styles in the reliefs of the Persian Achaemenid. One is the tunic jacket sarapis that goes down to the knee and wide trousers with half-length boots. The other is the Scythian style trousers that looks like a barrel in a Sarapis. Second, in the Bactrian coin depicting the bust of the Bactrians, the hair styles and headgear of the Bactrian kings were analyzed. The Bactrians wore braids with short curly hair and wore Macedonian hats and helmets on them. Third, the relics excavated from the ruins of Ai-Khanuom depicted the forms of the ruling classes of Bactria. The dress styles and hair styles of gods and priests were imitating the form of the Greek costume as it is.

• The Journal of Internal Korean Medicine
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• v.15 no.2
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• pp.148-162
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• 1994

A Literature study was done for identifying the effects of Bloodletting on C.V.A. The major results of the study were as follows. 1. The frequency of points of Bloodletting on C.V.A. were in order Twelve well point, Ship son, Gold SalivaJade Fluid, Paekoe, Chungchung, Sugu, Sosang, Taechu, Wijung, Kwanchung, etc. 2. The frequency of meridians of Bloodletting on C.V.A. were in order Extra-point, Tongmaek-kyong, Su-gworum-Shimpo-Kyong, Susoyang-Samcho-Kyong, Sutaeum-Pye-Kyong, Choktaeyang-Panggwang-Kyong. ete. 3. The frequency of the site of points of Bloodletting on C.V.A. were in order four extremities, face, neck and head, etc. 4. The effects of Bloodletting on C.V.A. is clear away heat and alleviate pain, therapy for waking up a patient from unconsciousness, dredge the meridian passage, expel wind-evil and promote blood circulation, emergency treatment for collapse, etc, 5. The effects of Bloodletting on the early stage of C.V.A. were wake up the patient from unconsciousness by clearing away the heat and The effects of Bloodletting on sequence of C.V.A. were dredge the meridian passage, 6. The frequency of points and meridians of Bloodletting on Hemiplegia were in order Twelve well point, Kyonjong, Extra-point, Chok soyang-Tam-Kyong, etc. 7. The frequency of points and meridians of Bloodletting on Aphasia were in order Gold Saliva Jade Fluid, Amun, Extra-point, Tongmaek-Kyong, etc. 8. The frequency of points and meridians of Bloodletting on Quadriplegia were in order Ship son, Twelve well point, Koktaek, Wijung, Extra-point, Chok soyang-Tam-Kyong, etc. 9, The frequency of points and meridians of Bloodletting on Vertigo were in order Four Gods Cleverness, Tuyu. Chanjuk, Paekoe, Taeyang, Extra-point, Yang-Kyong, etc. 10. The frequency of points and meridians of Bloodletting on Headache were in order Taeyang, Paekoe, Taechu, Extra-point, Tongmaek-Kyong, Yang-Kyong, etc. 11. The points and meridians of Bloodletting on Bells palsy were Chichang, Hyopko in Yangmyong-Kyong.

• Journal of the Korean Society of Food Culture
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• v.11 no.1
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• pp.43-52
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• 1996

[Goshogi] which is held from 9th to 16th January, every year is the Buddhist service of praying for the soul of Shinran's $(l173{\sim}1262)$ after death. It is the most majestic high-filling style and also unparalled in the annals of Japanese history in sacrificial offering. Shinran was horned in the Fujiwara's family. And not only he believed Prince Shodoku's belife but also retired to the mountain to enter the priesthood by it. Prince Shodoku built Horyu temple which is the typical temple of Nara ages. Buddism was transmitted from Korean peninsula, three countries of Silla, Bekje and Kokuryo effected on many field of Japnese culture during that ages. At the same time, Kasugadaisha and Danjanjinja of Shinto religion was built by Fujiwara Family. Both of them was Buddhist temple before. Throughout like these historical background, the facts what the religious services and the sacrificial offerings for Prince Shodoku, Wakamiyasai of Kasugas' and Kakitsusai of Danjanjinja must be influenced from Korean Peningula. So the dietary culture of the religious rites and traditional customs between two countries could be thought the relation with a narrow stream strait. But among them, in the size, color and shape, the cooking method and technique in the usage of rice powder and sugar, it is tops in value. The noteworthy points of the thought were as follows: 1. high-filling style of the sacrificial offerings what is mixed and harmonized with Buddhism, Confucious, Sharmanism, Toaism and Korean traditioal customs. 2. eating together of god and human. 3. the fusion of gods and Buddha.

• Journal of agriculture & life science
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• v.43 no.6
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• pp.53-57
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• 2009

The Oriental flower arrangements have the beauty of a strict triangle in a symmetrical three-dimensional effect as the form of flower tribute to gods in ancient times and used frogs to fix flowers to a basin easily. Flower arrangements of a conical shape made by repeatedly piled flowers in ancient Egypt shows the origin of the present vertical form of the Western flower arrangements. Flower arrangements in ancient Greece formed in a smooth S shape, while Roman flower arrangements were rich and gorgeous in a lowering and thin shape horizontally. Persians were showing triangular forms similar to the Oriental three-dimensional effect. The basic form of flower arrangements in the age of Renaissance was also created upon the ancient one, descending to Art Nouveau when flower arrangements were widely expressed from mass to space aesthetics led by America in the 20th century influenced by mild color, simplicity and realistic description of the Oriental art in the late 19th century. The Western flower arrangements are focused on formation, same as the Oriental ones, yet they disregard naturality and based on practicality.