• Journal of Fashion Business
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• v.4 no.3
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• pp.91-102
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• 2000

As an economy approach new state of affairs under the influence of the Shil-Hak philosophy, the Joshun society at 18th century gave common people to a chance to impress and to patronize the Arts. This social environment made an artist to drawing see and feel, this is a genre picture. Hong Do Kim(1745-1816 or 1818) was a typical genre picturer of Joshun, his picture reflected the time truthly and honestly and described vividly a life of common people, so expressed Realism what based on the actual. Therefore the purpose of this study is to analyze and to study costume of common people and their life style. The costume in a genre picture books are summarized. Man's basic dresses were Jugori and Baji uniformity, but based on the job or situation those had a little variation. People of a blacksmith shop wore that to enlarge sleeve of Bagi and Jugori and wore Strow Sandle exactly, in that way prepared for danger of treating hot iron. On the side, in the summer, Soikojambangiee and Deungguri jucksam wore at grain. The majority of hair style was Minsangtoo that Manggun not to be surrounded a head. Womam's basic dresses were Chima and Jugori, it was not to be different in compare with a woman of the aristocratic class, extremely appeal simplicity. But it was not to be of no accent on fashion even if common people, they wore a shot Dangko jugori that busts were seen below Jugori. A hair style was simple hair that her braid placed aboved a head, different with very richful hair style, Gachae that one‘s braid hair placed above a head, a hair style of woman of the aristocratic class and Kinuer. Because of common people's costume are not a special thing expect for basic dress-Jugori, Baji, Chima, many historical books or articles about costume are not existed. As the results of this study on costume of common people's life, we found that basic dresses appeared to a various types based on the job and the situation.

• Journal of The Korean Digital Architecture Interior Association
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• v.6 no.1
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• pp.5-11
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• 2006

Korea and China have had close relations not only geographically but also ideally and culturally throughout history. Regarding their lifestyles on housing patterns, however, Koreans had a sedentary way of life, usually sitting on the floor while Chinese had a standing lifestyle, sitting on a chair. This paper tries to have a comparative analysis on similarities and distinctions of two countries' traditional furniture that had complied with each lifestyle. This paper also aims to explore the similarities and distinctions of the form and function of the traditional furniture of the two countries and then to put results of this paper in design and plan of modern furniture and housing in our times. The study can be summarized as follows. Even if, cultural and historical relationships of two countries, there is a different of traditional furniture's forms and types. The major differences are as following : Korean furniture is predominantly on the floor level with storing furniture while Chinese one is intermixed with seat-level and floor level styles. These characters seem to be derived from their own housing and life style. In Ming and Qing period China, Their developed in which intermediate people and building. But, in Korea their housing style had floating floor against wet earth, which finished woods, Ondol. Because of these finishing, the Korean traditional furniture was developed into a good form and a suitable dimension for moving. These differences in furnishing style seemed to well reflect building and housing style of each country. And Image map and positioning map can show the differences in a whole aspect.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.112-126
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• 2012

The style of a dress allows important characterization of an era since they reflect contemporary politics, society, culture and arts. Within a same category, period costumes develop into styles that reflect specific consciousness. The research method and the scope of the study are as follows: the research adopts a historical study method and a comparative research from a microscopic point. The scope includes resistance costumes that proceed with sans-culotte that comprises of the resistance party during the 18th French Revolution (1783-1799), and also a Hippy style which was popularized during the 1960s and 1970s for its anti-war movement. We researched both similarities and differences of design factors reflecting resisting consciousness in costumes that affected costume characteristics related to their socio-cultural background. Sans-culotte and the Hippie style reflect a common denominator in anti-social resisting customs. First, they show common characteristics that combine fashion trends of resistant element and design features. Second, they have common features which are the characteristics of deviation. On the other hand, these two customs also present a discriminative denominator in anti-social resisting customs. In the case of sans-culotte, they tend to symbolize confrontation by dividing into two equal parts: the old and new mode. Sans-culotte confronts the conventional mode and promotes practical costume styles based on justice standpoints. First, hippies pursue an exposition of individual emotions that disclose internal meanings of love and desire. Second, they focus on subjective characteristics and chase after masteries and pleasures by expressing intensity. Third, it extends and develops folk costumes from many countries that reveal ethnic trends. Therefore, this research compares and contrasts different changes in the fashions of revolutionary periods, and aims to recognize the relationship between design and costume characteristics, thus contributing to the predictions of future changes in fashion.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1112-1128
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• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• Journal of National Security and Military Science
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• s.7
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• pp.55-89
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• 2009

This article aims to critically review recent U. S. RMA-centered theories of warfare having prevailed after the 1991-92 Gulf War upon which the current ROKA military transformation project, the Vision 2020, largely based. In order to evaluate validity as a universal warfighing theory of NCW (Network Centric Warfare) and EBO (Effects-Based Operations), this article reviews the intrinsic strength and weakness of the theories as well as results of several recent wars that the U. S. Army conducted based on doctrines derived form such theories, In addition, this article examines the impact of certain military technology or weapon system in some well-known historical wars to draw lessons regarding the relationship between technology(weapon system) and military victory. Historical examples has shown that victories in war were not achieved by new technologies alone in most cases. Rather military victories tended to owe to combination of new technology, original doctrine and well conceived organization. Although the U. S. Armed Forces showed brilliant records of operational successes anchored on the system of PGMs and NCW concepts in Iraq (1991-92; 2003) and Afghanistan (2001-02), it must be pointed out that the operational successes did not bring about political ones in cases of Iraq and Afghanistan. It reminds us of perils of too technologically tilted approach to the conduct of war. In sum, one ought to recognize that superior technology nowadays became a necessary condition of success but is not yet a sufficient condition, the ROKA needs to be abreast with development trends of military technologies and related theoretical concepts, it need not too be in a hurry in adopting cutting edged war-making technologies at the expense of large amount of budget. The essay recommends for the ROKA several basic requirements for coping with conduct of future wars as well as establishing a 'Korean style military thought'; (1) Recognition of importance of technology in conduct of war; (2) Imposition of officer self-study hours in working days; (3) Establishing a lifestyle of military professionalism in the Korean officer corps; (4) Setting up small or large groups of think-tanks that are specialized in army doctrinal formulation.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.59-72
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• 2005

Architectural embodiment of a national identity has long been a significant topic in Korean architectural circles. For this reason, it must be helpful to examine the so-called, 'National Romanticism' of Finnish architecture around 1900 in that Finnish architects of the time struggled to embody their national identity through their projects. Considering the historical and linguistic affinities between Finland and Korea, the Finnish architectural situation draws . our additional attention. This paper aims at showing its historical background, the meaning of each type of buildings in the stream, and limitations it implies. The atmosphere of Finnish nationalist movement, which was provoked by [Kalevala] publications (1835; 1845) and shown in Karelianism, was heightened by Tsarist Empire's Russification programme of Finland in the late 19th century Architecture was one of the most important genres expressing her national identity. Finnish national romantic architecture could be divided into three. The first is a log house style for artists' studio house, motivated by the Finnish vernacular farmstead - especially by Karelian farmhouse. This type of building signifies the Finns' will to return to their motherly soil. The second is a stone architecture style for public buildings, inspired by Finnish church or castle of an early medieval time. By using roughly-cut granite as the main exterior material, buildings of this type symbolise the toughness of legendary heroes and Finns' desire for national Independence. The third type of building was based on both of the former or more dependent on architects' Imagination and creativity. However, Finnish national romantic architecture has been criticised by some critics owing to its decorative, eclectic and self-indulgent characteristics. Probably, it was not really national but rather inter-national because of the Influences of English Arts and Crafts Movement, the American Richardsonian architecture and the continental Art Nouveau. And the negative images of 'national' and 'romantic' made some historians coin other terms like 'national realism' or 'material realism'. As another limitation, one raises the low degree of its contribution to the entire architectural history. Despite these criticisms, however, this paper argues that Finnish national romantic architecture is meaningful in itself, particularly because it illustrates vividly Finns' struggle to search for their national identity and, after all, their craving for national independence.

• Journal of the Daesoon Academy of Sciences
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• v.18
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• pp.123-134
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• 2004

The aim on this paper is to explain the present state and circumstance in the course of arranging historic classical books in China. In order to approach its purpose, it should make it clear to define the word of "The present"(當代). Furthermore, we need to take a deep notice on the arrangements itself of historic classical books, its influences and contributions, reflecting this process carefully with those historical, cultual and social points of view due to the meaning of "The present" in China. Starting from this considerate view, first of all, I would like to determine the accurate time of "The present" to be the period of time from October, 1949 to December, 2003. It can be described very suitably well as "bamboo sprouts grow fast after a rainfall"(雨後春荀). This tremendous works in the arrangements of Classics have gone through sweets and bitters of times during 50 and several years. However, this work in process has overcome so much troubles and exclude obstacles in doing so, gradually begun to bear tasteful fruit of many publications, about 10,000 works so far. Although it has gone far with very little amount of works in comparison with the remains that would be put in order in the incoming future, it succeed effectively to the spirit and soul in Chinese culture and people. Illuminating the development in its historical steps and analyzing elaborately flows in cultural and ideal elements, it is known that this work of arrangements not only give a very firm basis for excellent Chinese cultural tradition, but also extend high level of idea and thoughts in their thoughts so that build up the spirit in socialism on the solid foundation. This paper will give a explanation and analysis on this works and its contributions. At the same time, it examine and give a good, careful, and close look on the arrangement of historic classical books in China by various means of classifying into various types and style, searching for many methods, and showing indication and directions that might be right in "the present".

• Archives of design research
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• v.18 no.4 s.62
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• pp.25-34
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• 2005

The purpose of the present study is to investigate the characteristics of the current Victorian-style interior by reviewing the basic Victorian-style house in the past. this research was analyzed various prior studies and literatures, and found the following results: First, the Victorian-style house and interior space showed various historical trends and adopted every style from Gothic to rococo, and sometimes more than one style influenced a single place. Its formality was applied depending on the function and standard of each room. Second, the interior had many decorative things with free, irregular or other patterns, influenced by Romanticism and Naturalism. The several environmental factors such as air pollution and hygienic matter were also related with its trend. the dramatic changes in the kitchen and sanitary facilities were appeared based on the technical development, and affluent design styles were also used. All these reflected the characteristics of the Victorian age. In conclusion, the characteristics of Victorian-style were influenced by many factors including: (a) the trend of Romanticism and Naturalism, (b) consideration of family convenience based on the technical development, (c) the Socio-Environmental factors like air pollution and the social norm, and (d) reflection of the individual value in accordance with frequent contacts with foreign cultures. In this respect, it is necessary to reevaluate the Victorian-style after paying due regard to such factors.

• Journal of the Korean Society of Costume
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• v.26
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• pp.289-310
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• 1995

The present study aims at investigating the style change of the Korean women's traditional costume and analyzing its character in accordance with the social changes during the period from the civilization in 1884 to the present. The design of the tranditional costume which might be formed in the era of the Three Kingdoms had been slowly modified, and the Korean jacket and skirt design was settled in the Chosun period. In the end of the Chosun period, the drastic social changes such as civilization and revolution, together with the introduction of western dresses, affected strongly the traditional costume design. This led to a change from the old dress design to the stylish and practical one because civilized women and high school girls wore the modified costume composed of long jacket and short skirt or western style dresses. In recent years after 1960's Korean women usually wore traditional costumes as ceremonial dresses be-cause the western style dresses replaced the tra-ditional costume in everyday life. After 1970's, however, the A-line silhouette, combined with ornaments, adapted to the traditional costume in order to emphasize women's beauty, thereby resulting in remarkable modification in the tra-ditional costume. In those days, the large pro-duction of various textiles such as nylon and tetron and the appearance of the traditional costume designers played an important role in developing beautiful traditional costume designs and bringing closer together with general public women. These recent design changes might be classified generally by the following three stages ; (1) "the period of settlement" (1965 1975), (2) "the period of maturity" (1976 1985), and (3) "the period of stabilization" (1986 1995). The costume design of each period was discussed and compared in detail according to historical events. From this study, inherent beauty of the Korean traditional costume can be recognized again, and clarified its position as our folkdress. It is also suggested that in future its modification should be achieved continuously in accordance with tra-dition and modern sense.h tra-dition and modern sense.

• Journal of the Korea Furniture Society
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• v.17 no.2
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• pp.57-68
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• 2006

This study understands rockers of today and supplies basic data of design and manufacture studying pattern change of rockers arisen in West, there is the purpose. Also, this study is investigated by dividing theoretical background of rockers, 7 kinds of American traditional rockers and European rockers from 18th century to opening part of 20th century and contemporary rockers since 20th century. The theoretical background and the style of 2 rockers (Windsor rocker, Boston rocker) were investigated to study the stylistic changes of rockers. Originally a rocker was invented by a European farmer around 1700. It developed to a household which equip practicality and comfortablness in the United States than Europe. Early rockers in a primal form appeared in the 1740s in the United States. American early rockers connected skate to established chair bridge. Rockers are deep connection with family's emotion. Rockers can provide playing functions for children and medically treating functions for adults. Windsor Rockers developed by attaching skate is mammy bench and according to shape of back form bow or hoop-back rocker, birdcage rocker, comb-back rocker. Windsor Rockers formed peculiar American tradition of craftsman furniture through structure that have a unique back of a chair and round seat. Boston Rockers were the first chairs made by mass production method. They show a particular shape with S-curve style seat and rectangular crest at the upper part of the back. Often Crests were decorated by stenciled pattern with curled leaves such as rosettes and scrolled designs.