• Title/Summary/Keyword: Hair-style

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A study on veil and head-dress of Bodhisattva in Dunhuang Mogaoku (돈황막고굴 보살상의 두식과 천의에 관한 고찰)

  • 최영순;이춘계
    • Journal of the Korean Society of Costume
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    • v.37
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    • pp.47-69
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    • 1998
  • The purpose of this study is to inquire the hair, head-dress and clothing(upper clothing: Veil, Samkaksika, Sash) of Bodhisattvas in Dunhuang Mogaoku of the period from Northern Liang Dynasty(421∼439) to Tang Dynasty(618∼907). The method of this figure and the change of clothing form : 'Dunhuang Mogaoku'1st Volume-4th Volume. The Bodhisattvas' hair style are somehat various ; A part in her hair, Suibal, Gae, Sakbal. A part in Bodhisattvas's hair is observed from Northern Liang Dynasty to Sui Dynasty. But Suibal had been continuous succeeded. Meanwhile, in the periods of Sui and Tand Dynasty, there were the hair styles whose ends were curled up. It is called Eulle Meor-ee. Especially, in Tang Dynasty various styles of Gae were appeared. Doogun was observed from Northern Wei to Tang Dynasty. There were three kinds of head-dress; Samsikkwan(having 3 decoration), Bokwan and Jungmeunkwan(appeared in Tang Dynasty). Meanwhile, Sash let was become more and more decorative. The Upper clothing can be classify into Veil, Samkaksika, Sash, etc. Veil were observed in every period but X shaped one was form Northern Wei and U shaped one was from Northern Zhou Dynasty. After the period of Sui Dynasty U shaped Veil become prevalent. Samkaksika was observed for the first time in Northern Zhou Dynasty. Cutted sam-kaksika was appeared in Sui Dynasty and succeeded to Tang Dynasty. Poncho tyed Samkaksika was also observed in Tang Dynasty. In Westhern Wei Dynasty. daesupo was used into outter garment, which us that chinese influence was deep tell. Sash showed up in Tang Dynasty and it is used for Veil for the whole period of the Dynasty. But using sash for veil was formally hanged on going the lated period of Tang Dynasty. We can observe the sun-moon decoration and the wings of a bird decoration at the Bokwan, Veil, Samkaksika and Sash, etc. It is was the influendce of Sasan Per-sia and India. I will fill up the insufficency of this study wity continous research of ornament(Muktahara) and skirt of Bodhisattva and deeper inquiry of the relationship around the many countries.

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Analysis of previous researches on beauty attitude (뷰티 태도 관련 기존 연구의 분석)

  • Choe, Ji Hye;Kim, Mi Young
    • The Research Journal of the Costume Culture
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    • v.24 no.6
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    • pp.756-776
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    • 2016
  • The concern over beauty is increasing as the importance of appearance is becoming more prominent. Accordingly, the importance of studying beauty is now apparent. The purpose of this study is to analyze existing beauty-related research in order to assess current trends in beauty-related studies. Materials were collected from the master's theses and academic journals from 1997 through 2016. In addition, 81 beauty-related papers were selected and classified into 3 categories according to their subjects and content. There were 19 hair attitude papers, 52 papers about make-up and skincare, and 10 papers on cosmetic surgery. Each type was divided into detailed themes according to the study theme and its number was grasped. Consequently it was classified into 9 themes about the attitude toward hair and the relevant variable study, 10 themes about the attitude toward hair style and relevant variable study, 24 themes about the make-up attitude and relevant variable study, 28 themes about the skin care attitude and relevant variable study, and 10 themes about the cosmetic surgery attitude and relevant variable study. The results revealed that academic concern about beauty sharply increased starting in 2005. Moreover, we determined that the methodologies used in hair and make-up studies were sound and detailed, while cosmetic surgery studies were more inconsistent and poorly analyzed. Thus cosmetic surgery should be further researched in a more standardized and thorough manner. This review of attitudes toward beauty will serve as a basis for follow-up studies that employ meta-analyses to draw more quantitative conclusions by aggregating many more study results.

A Study on the Costume of the Gods in the Ancient Roman Myths (고대 로마 신화에 등장한 신들의 복식 연구)

  • 임상임;추미경
    • Journal of the Korean Society of Clothing and Textiles
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    • v.25 no.5
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    • pp.945-956
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    • 2001
  • The costume for gods in the Ancient Roman myth was studied by examining in the embossed-carving, sculptures, mural-painting and various documents of the period. The clothes item, hairstyle, symbol & ornaments and shoes of the gods in the Roman myths were analyzed to understand the formative process in the religious costumes, and results are as follows. First, the costumes for male gods are the same as those for ordinary men lived in ages, including toga, paludamentum, tebenna, tunica. The costumes for female gods are also the same as those for ordinary women lived in ages, including stola, palla, tunica. Second, the hairstyle of male gods is short curled-hair, twisty roll-up hair and braid long-hair due to the influence of Etrurian in the early days. Another hairstyle is appeared in form of the laurelled-crown. The hairstyle of female gods is curled long-hair, chignon style and braid roll-up hair decorated with hairband. Third, the symbol & ornaments which represent the responsible possession of male gods, are appeared in beard, a stick of the message, arrow-case, offering-dish, antlered-glass, shield, spear-handle, as the superhuman forms, such as the lightning shape. For female gods they are is appeared plastron, a stick of the message, flower. some female gods wear necklace, foot-ring, bracelet. Fourth, male gods wear shoes in forms of sandal, buskin, boots, but all female gods are in barefoot. It could be explained by the fact that a man-centered society in the ancient roman is reflected in the world of gods. As mentioned, Gods costume in Roman myths was very similar to or nothing different from the ordinary peoples in Rome. However, they used corps, sacrifices or sepcific symbols depending on the fields that they were responsible for in order to be distinguished from the ordinary people. This is the result from the peoples expression that they should keep a close relationship with Gods hoping to be protected, and rely on them under whatever circumstances.

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A Study on the Design of Pearl and Crystal according to the Change of Wedding Hair Ornament (웨딩 헤어장신구 변화에 따른 진주와 크리스탈을 응용한 디자인 연구)

  • Lim Soon Ja
    • The Journal of the Convergence on Culture Technology
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    • v.10 no.2
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    • pp.99-106
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    • 2024
  • This study classifies images according to changes in wedding hair and equipment and approaches and presents creative designs using pearls and crystals to preserve the subtle and soft gloss of pearls. In addition, in modern times, it is intended to help women as a new part of hair art design art expression by expanding their choices with unique designs and decorative means that give women a special sense of humor by expressing them in various materials and forms in creating complementary and individualistic hairstyles. A total of three works were produced and analyzed to shape images according to changes in wedding hair jewelry, which can create designs by harmonizing the subtle and soft gloss of pearls with the splendor of crystals, so that they could be provided as new motifs for real-life marketability in creative and original hair art. The work was produced by the design intention and method, design development, production intention, production process, and work completion. It was possible to derive a unique up-style decoration that reveals one's personality while having both practicality and decoration. It is expected that the research on colored hair art design will continue as a motif for the development of hair art works and the commercialization of real life.

Making Method and Use of the $18^{th}$ Century Jokduri in Ijae-nan-go ("이재난고(頤齋亂藁)"에 나타난 18세기(世紀) 족두리(簇頭里)의 제법(製法) 및 사용(使用))

  • Kim, Ji-Yeon;Hong, Na-Young
    • Journal of the Korean Society of Costume
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    • v.60 no.8
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    • pp.86-99
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    • 2010
  • This study considered the characteristics and use of the jokduri during the 18th century, which was shown in Ijae-nan-go written by Yoon-Seok Hwang. In Ijae-nan-go, not only the origin of the jokduri, but also its colors, materials, sizes, and construction methods are recorded, in detail. The Jokdori is assumed to have been influenced by costumes of China. The 18th century jokduri is mainly made up of black satin, and is composed of eight pieces of cloth. This looks similar to a contemporary jokduri, but the 18th century jokduri is bigger. At court during the 18th century, women decorated their hair styles higher by using the jokduri. Not only did the jokduri fix the topknot at the top of a woman's hair by wrapping the topknot, but also it raised the height of the topknot. This is different from the generally known method of wearing jokduri. Therefore, this demonstrates that there have been changes in the role and use of the jokduri over time.

Development portable hair removal applies PET ($Pause^{10-90}$ and $Energy^{20-40}$ $Trigger^{1-7}$) function

  • Kim, Whi-Young
    • Journal of information and communication convergence engineering
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    • v.7 no.2
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    • pp.223-230
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    • 2009
  • For pulse trigger way and the energy injection rate according to PET ($Pause^{10-90}$ $Energy^{20-40}$ $Trigger^{1-7}$) function, indeed, human body condition, period of dormancy in this research about this back correctly adjustment possible and designed harmless micro carrying along style hair exclusion so that can design and manufacture and run special quality examination and Xenon flash lamp to crawl in human body. Because creating individual's skin model to do stable treatment by light transmission way by skin impedance and measure, must embody treatment special quality of most suitable that draw skin color, energy, wave length, approximately, transmission time, pulse delay etc. and want. Specially, saved standard of war treatment pulse modeling by skin impedance, and manufacture pulse modeling system of most suitable by skin subordinate, and embody suitable treatment pulse. Specially, embody as could do root of a hair exclusion being emitted in pulse form using multi wave length of 560nm, 590nm, 640nm, 755nm and embodied clinical data. If become research repletion furthermore little more, is seen that can approximate in commercialization.

A Study on the Design of Gisaeng Costume in Early-Middle Goryeo Dynasty (고려 초중기 기녀의 고증복식 캐릭터 연구)

  • Choi, Hae-Yool
    • Journal of the Korean Society of Costume
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    • v.58 no.7
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    • pp.151-163
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    • 2008
  • This study was undertaken to design Ginyeo's character and costume in the early-middle Goryeo Dynasty which had a few relics, and to make practical cultural contents. The famous Goryeo Ginyeos who had real names are costume characters. Goryeo women dressed in delicate white ramie jarket in "Goryeo-dokyung", and the shape of Jacket can be two kinds: long-wide jacket enough to tie a belt, and long caftan cover the knee. Goryeo women enjoyed wide yellow skirt, but Ginyeo in "Dongguk-isanggutjip" put on pink, flower, pomegranate, red skirt for high class ladies. In the case of Mong-su(a head cloth with black gauze train), it is thought that Ginyeo fold up train like lower class or just hang down like ordinary women, because of their status. As underwear, a ramie jacket and wide underpants were set up. It is needed that many Golden bells and jade trinkets must be attached to Goryeo Ginyeo's waist to stress their characteristics. Ginyeo's hair style can be designed so that a bunch of right hair was dropped down and the rest hair was rolled on reft shoulder. To design a Ginyeo's costume chatacter of the early-middle Goryeo, the richness of wide skirt, delicacy of white ramie, a great deal of trinkets must be emphasized correctly as a characteristic of Goryeo women's costume in that period.

A Study of Classical Makeup of the Korean Age by Using Language Visualization (언어 시각화를 통한 한국의 시대별 고전화장 연구)

  • Barng, Kee-Jung
    • Journal of Fashion Business
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    • v.22 no.1
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    • pp.114-123
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    • 2018
  • The purpose of this study is to investigate the visual elements for effectively conveying the make-up method of the Korean history. We will do basic research on language visualization through visual poetry by using a make-up method as a visual expression element. Our research methods consisted of a related literature research, an internet search, and case study methods. The make-up methods of Korean classical make-up through visual poetry consisted of a through literature review. First, make-up methods, cosmetics, jewelry, and hair styles are shown in the classic make-up style of each age. Second, classical make-up visual poetry shows the identity, gender, and character depictions. Third, there were many visual metaphors about the hair types, figures, and hair among the classical make-up methods of each age. I think that this topic is worth researching as an appropriate medium to increase attractiveness. This research is with visual expression elements of the Korea make-up method. This study analyzed the Korean traditional make-up method that expresses and reinterprets visual metaphors. The results of this study can be applied for basic research.

A study on the Turfan's costume in the period of Uighur (위구르(회골, Uighur)기의 투르판(토노번,Trufan) 복식연구)

  • 김소현
    • Journal of the Korean Society of Clothing and Textiles
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    • v.23 no.6
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    • pp.829-840
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    • 1999
  • Ordinarily hair styles and headclothes show the racial characteristics. Uighur's men had let their long hair hang down their back in many queues, According to the order of estates men wore double high coronets hthree-pointed coronets from the headdress. Married women wore the felt headdress. The type of men's clothes were long caftans which had a round collar slits on the both sides and tight sleeves. They tied Chan Die belts and wore long boots. Women wore long tunics with everted collar which was decorated. Later the type of women's dress was changed into the long caftan. Late period of Turfan Uighur Mongol style had appeared.

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The Characteristics of Modern Fashion Coordination in the John Galliano's Fashion Show (존 갈리아노 패션쇼에 나타난 현대패션코디네이션 특성)

  • Jin Kyoung-Ok
    • Journal of the Korean Society of Costume
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    • v.55 no.6 s.96
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    • pp.51-66
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    • 2005
  • Fashion is to emphasize the importance of total coordination in creating an image. Therefore, modern fashion is not the conformation of fixed beauty but it exist in the expressed form of the variety and the completion according to the individual's personality for the self image of the clothes, the hair and make-up, the accessories and the like. This study Is aimed at reviewing one of the tendency of modern fashion coordination and the characteristics of John Gallianos fashion work and there upon, analizing the characteristics of John Galliano's fashion show, who is one of the most leading fashion designer, by dividing them Into four categories in large: 1) The maximum effect of fashion image by make-up and hair style 2) Adventurous fashion coordination with daring decoration 3) Fascinating fashion coordination Harmonized with color 4) Enlargement in the concept of fashion coordination by experimental way of clothing