• Journal of Fashion Business
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• v.5 no.2
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• pp.105-115
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• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• Cartoon and Animation Studies
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• s.25
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• pp.109-132
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• 2011

The Vampire has relatively universal images in through the cultural and verbal usages. The comic Higajima and movie display the latest image of Japanese Vampire of asian mode of production. After the Meiji political reformation of 18th Century, Japanese had rapidly changed into European style in every places. However, the Higajima is denied the structural changes, it is insisted that the changing is only the skin deep and colour of hair but the structure of the society is same as feudal Japan. Asian mode of production is claimed by Karl Marx, according to him, it is before the historical developing model in Europe and it was controversial. The major character of modern Japanese history would be the change of hierarchy of king-shogun-samurai-peasant based on the regional ground. The feudal structure is changed by the Meiji reformation and Japan was rushed for the westernized country rather than the asian mode of production. However, Higajima argued that the changing is just the clothes of ruler but the democracy and individual citizenship was lost in that reformation. Vampire is cursed creature that cannot see the sun and it has not the functioned as a human organ. For human it is dead but this creature actively moves and stronger than human and much superior than human in every aspects. It is managed the feeding through the suck the human blood and power to seduction. Even it is not exist, it is quite symbolic phenomenon of cultural usage of superior entity of chain of feeding. The aim of this paper is display the symbolic code Vampire of Asian mode of production in Higajima and political struggling of Japan in actual. To search of the cultural meaning and possibility of the Korean solution of modernity.

• Journal of the Korean Society of Safety
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• v.35 no.5
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• pp.74-85
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• 2020

Smart phone zombie or Smombie means pedestrians who walk without attention to their surroundings because they are focused upon their smart phone. Because the traffic accidents and injuries caused by Smombie have been increased rapidly in recent years, the social attention and policies are needed to prevent it. This study was conducted to analyze Smombie's current status and some solutions used before and to propose new improved method through the latest ICT trend. In this study, we did the field survey to check Smombies at several places in Seoul through people counting, and found that a lot of pedestrians still use the smart phone while walking. And we analyzed many case studies about some solutions to prevent Smombies previously. The case studies include legal regulations, government policies, smart phone app services and facilities that are used before. We studied them through internet searches and reference studies and we also checked the current operating situation as visiting several places that the solutions actually has been operated. Therefore, we found there are some limitations in previous solutions in terms of effectiveness and management. To consider new solution that can be expected to overcome the limitations, we analyzed the latest ICT trends focused on features to utilize the Smombie prevention, especially video recognition and digital signage. In these days, video recognition has been developed rapidly with assistance of AI technology and it can recognize the specific pedestrian's characteristics such as holding smart phone as well as hair style, clothes, backpack and etc. On the other hands, the digital signage is the convergence device that includes big display, network connection and various IoT sensors. It can be used as public media in many places for public services as well as advertising. Through these analysis results, we show the requirements and the user scenario for the improved method to prevent Smombie. Finally, we propose to develop R&D technology to recognize Smombie exactly as pedestrian attributes and to spread creative contents to increase pedestrian's interest and engagement for Smombie prevention through digital signage.

• The Korean Journal of Franchise Management
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• v.10 no.4
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• pp.19-29
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• 2019

Purpose: In beauty industry, service quality is very critical, because it impacts on the customer's positive attitude and behavior to the beauty salon or beauty brand. Thus, this research examines the effects of service attributes on customer satisfaction and loyalty in beauty salon. This research suggests the guidelines for how beauty salons should manage their physical environment, price policy, professional skills, and employees that improve management and business performance. Research design, data, and methodology: This study examines the structural relationship between service attributes, customer satisfaction, and loyalty. Service attributes divide into four sub-dimensions such as servicescape, price service, technical service, and employee service. In order to test the purposes of this research, research model and hypotheses were developed. All constructs were measured with multiple items developed and examined in previous studies. A total of 160 questionnaires were distributed and collected, and 150 were used for analysis except 10 that were unresponsive or unfaithful. The data were analyzed using SPSS 22.0 and SmartPLS 3.0 statistical package program. Result: The results of this research are as follows. First, all sub-dimensions of service attributes such as servicescape, price service, technical service, and employee service have significant positive impacts on satisfaction. Second, customer satisfaction have significant impact on loyalty. Conclusions: This study suggests an integrated model of the relationship that the characteristics of beauty salon service attributes affect customer loyalty through satisfaction, and suggests how to manage and allocate limited resources in the beauty industry. The findings of this research indicate that the level of customer satisfaction is shown to be increased by servicescape, technical characteristics, value of money, and human attributes. Thus, beauty salon management should focus on the relationship with their customers how to improve customer loyalty through satisfaction. The quality of beauty service influences customer's attitudes and behaviors toward beauty salon. Considering the beauty business, where the quality and customer satisfaction of beauty services are determined by the hairdresser's beauty skills,, the beauty salons must find ways to improve their skills and new trend of hair style. If beauty salon customers perceive the high quality of beauty service, they revisit beauty salon and recommend it to others.

• Journal of Naturopathy
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• v.11 no.1
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• pp.51-61
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• 2022

Background: There was a need to investigate the interest in beauty and consumption sentiment in beauty shops on COVID-19 among beauty customers in their 20s and older in Daejeon Metropolitan City. Purpose: To investigate the degree of interest in beauty and consumption sentiment of beauty shops according to COVID-19 targeting beauty customers. Methods: A survey was conducted targeting beauty customers in their 20s or older in Daejeon. A total of 263 questionnaires were analyzed using the SPSS 27.0 program. Results: Beauty customers' interest in beauty was above average in hair style, makeup, skin care and body shape management, but nail care was below average. In addition, it was found that there were some statistically significant differences or no difference in beauty shop consumer sentiment due to COVID-19 according to gender, marital status, age, and occupation. It was found that there was a positive (+) correlation between interest in beauty and consumption sentiment of beauty shops due to COVID-19. Conclusion: The beauty interest in beauty of the customers in their 20s or older in Daejeon Metropolitan City and the consumption sentiment of beauty shops on COVID-19 outbreak indicated some statistically significant differences depending on gender, marital status, age, and occupation, or seems no difference. Therefore, it is evaluated that the results will serve as basic data for research in this field.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.246-263
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• 2019

The stone Buddha statue of Sangunsa Temple at Bukhansan in Goyang, Gyeonggi Province, is an excellent example of stone Buddha statues created in the late 15th century. On the base of the figure, there is an inscription, which informs that it was produced in 1497. In recognition of this significance, it was recently designated as a tangible cultural asset in Gyeonggi-do. Thus, this paper tried to evaluate the value of the statue by analyzing iconography and style. The characteristics of a typical 15th-century style that the Buddha statue of Sangunsa Temple shows are the form of ushnisha, the way clothes are worn, the form of a w-shaped chest muscle, and the simple lotus pedestal. On the other hand, the elongation of the waist and the disappearance of the waistband on undergarments are new forms of Buddha statues in the 16th century. Besides, parting the hair in the middle of the head and leaf-shaped short ribbon draped on undergarments are unique features that only appear on the statue of Sangunsa Temple. Sangunsa has been known to be built in the early 18th century based on Bukanji compiled by Seongneung in 1745, and Bongeunbonmalsaji composed in 1943. However, the statue was created in the late 15th century, before the establishment of the temple in the early 18th century. Therefore, this paper briefly reviewed the history of Sangunsa Temple, focusing on the initial period, referring to the historical sites and the relics that were passed on to the temple, as well as the literature records. The data newly referred to in the study are as follows: Sangunsa Stone Pagoda, presumed to be from the Goryeo Dynasty; the Stone Buddha Statue of Sangunsa; Wooden Amita Triad Buddha Statue of Sangunsa. According to the data and contrary to previously-held beliefs, Sangunsa Temple is believed to have been operating since the Goryeo Dynasty. It can be inferred through analysis of the stone Buddha statue of Sangunsa Temple that the size of the Temple before the 18th century was not very large.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• Journal of the Korean Society of Clothing and Textiles
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• v.9 no.2
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• pp.67-74
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• 1985

According to the records that all the people in our country were taught the way of braiding the hair and hatting in the first year of 'Tangun' (the founding father of the Korean nation) and that the discipline between sovereign and subject, man and woman, and the standard of food, drink and dwelling were originated from that year, it seems that all the people in our country had lived with keeping a certain standard of food, clothing and shelter, and with maintaining the order in life from ancient times. So, our country have been called 'the Eastern Land of Courtesy' and also regarded as 'the country of the true gentle-man' which was characterized as the custom of a humane, and as the country that had the immortality since a benevolent person lived to a great age. Thus, all the people in our country have lived with keeping and maintaining a certain standard of all aspects in life, and the philosophy in life that we have today was established by the influences of our characteristic thought, Confucianism, Buddhism, Taoism and Christianity, especially the life style in the Chosun Dynasty Period have strong influence on our today life. Thus, the contents concerned with the standard of custume life among those of all life in the Chosun Dynasty Period was studied, and clothes itself is unable to give expression to its ends but when the relationship that is, the inter-harmony among clothes, the body which will be dressed in, and the inherent psyche in that body is formed, then the ends, the complete beauty will be expressed. Though there were many studies dealt with clothes itself, no one was concerned with the all kinds of standard in activities that the dresser should keep, so the purpose of this article is that as above. The literature search is used as the research method. The eight books, 'Noneo' (the Analects of Confucius), 'Yeogi' (the Book of Courtesy), 'Sohak' (the book of Precepts for child-ren), 'Yeosaseo'(the Women's Four Books), 'Sasojeol'(Korean Scholars' Minor Principles) 'Eonhaenaehoon' (Private Moral Instructions for Women), 'Woo-am seonsaeng kyenyeoseo' (Master Woo-am's Cautions for Girls) and 'Kyoobangkasa' (the Lyric Lines of the Boudoir) that had influenced the whole field of life in the Chosun Dynasty Period are analyzed, selected and finally arranged for studyilng the foundation of culture of the clothing and for helping to that culture in modern and future life. The results are as follows: 1. The standard of the clothing life in the Chosun Dynasty Period had deeply rooted in the teaching of confucianism, but also had been influenced by the custom which rooted in our people. 2. There is the emphasis upon the trinity among mind, clothes and activities in the clothing life. 3. The clothing and hat have to be dressed symmetrically in full of all required elements, 4. There is the harmony between the clothing with hat and environments or surroundings. 5. The true elegance in the clothing life will be realized not by the exterior outfit but by the interior outfit with the attitude of chastiny. In conclusion, as the material of clothing life in the Chosun Dynasty Period has the characteristics of the simplicity, the cleanliness, the elegance and the refinement, our clothing life is to be mastered with the simplicity, the cleanliness and the elegance in that life and with the harmony between the inside and the outside.

• Korean Journal of Plant Taxonomy
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• v.35 no.4
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• pp.247-272
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• 2005

The Philadelphus schrenkii complex including P. schrenkii var. schrenkii, P. schrenkii var. jackii, P. schrenkii var. mandshuricus, P. tenuifolius, P. pekinensis, P. seoulensis, P. lasiogynus, and P. scaber, is distributed in China, Korea, japan, and far eastern Russia. Their taxonomic delimitations are obscure because quantitative characters, such as presence/absence and density of hair on leaf, petiole, style, disc, calyx-tube, and pedicel, are highly variable with no apparent characteristics that consistently distinguish from each other within the group. Thus, these morphological characters are reexamined using univariate analyses. P. pekinenesis is distinct from other taxa in having glabrous disk, calyx, pedicel, and leaf blade. In addition, the number of flowers in an inflorescence [(5)7-9(11) vs 5-7 in other taxa], smaller calyx tube [2.5-3 mm vs. (2.5)3-4(5.9) in other taxa], and slightly divided styles help distinguish P. pekinenesis from other related taxa in Korea. However, P. schrenkii var. schrenkii, P. schrenkii var. jackii, P. schrenkii var. mandshuricus, and P. lasiogynus show continuous variation in the pubescence of disk, calyx, pedicel, and leaf blade, and this may reflect a lack of divergence among them. Particular emphases are placed on P. tenuifolius and P. seoulensis, because of the high degree of morphological intergradation with respect to the degree of pubescence in disk, calyx, pedicel, and leaf blade and their inconsistent circumscription across various systematic treatments. P. scaber, distributed in the southern Korea, has often been treated as an independent species having exfoliated branchlets, distinct serrated leaf margin, and recurved styles. However, this current study suggests that P. scaber should be recognized as a form of P. tenuifolius because these distinguishing characters are continuous between P. tenuifolius and P. scaber. In geographical distribution, P. pekinensis is mainly distributed in the southern part of Korea, while P. tenuifoilus and P. schrenkii are commonly found all over the country.

• Korean Journal of Plant Taxonomy
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• v.34 no.3
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• pp.221-244
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• 2004

Prunus sargentii complex of subgenus Cerasus is an Eastem Asiatic plant group that exhibits a broad range of morphological variation and includes P. takesimensis, P. yedosensis, P. verecunda, and P. sargentii. In this study, a morphological analysis was undertaken to determine whether the observed morphological variation was primarily attributable to morphological discontinuities among the taxa. P. sargentii, which distributed eastem area in Korea, northern area in Japan and far east Russia had umbel like inflorescence and additionally was characterized by sticky bud and leaf twigs, compared with P. serrulata complex. Also, P. verecunda in Korea and Japan was characterized by umbel like inflorescence and presence of hair in leaf, petiole and pedicel, and was treated as a variety of P. sargentii. Evidence obtained from multivariate morphometric analyses indicated that the entity of P. takesimensis formed a cohesive group somewhat distinct from P. sargenti.. Especially, P. takesimensis was characterized by relatively small flowers (26-32mm in diameter) and many flowers [(2)3-5] per umbel inflorescence, compared with P. sargentii (34-48mm and 2(3) per inflorescence) and should be recognized as an independent and endeImic taxon in Korea. Additionally, P. yedosensis, which was known to have umbel inflorescence (short peduncle type) with pubescent style based on the type specimen, was comprised of corymb inflorescence (long peduncle type) as well. The morphological differentiation between these two types of P. yedosensis was not considered sufficient to warrant recognition of specific status because of the putative hybrid origin, no distinctive geographical distribution pattern, and existence of various peduncle length on Island Jeju-do of Korea.