• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.10-25
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• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• Korean Journal of Applied Biomechanics
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• v.14 no.2
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• pp.121-138
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• 2004

The design of soccer studs is important for providing friction on a variety of surfaces. We hypothesized that a certain type of soccer studs could improve performance due to high rotational friction. Thus, this study was conducted to determine the relationship between the frictional characteristics and different soccer stud design. Twelve recreational soccer players were recruited. Rotational friction data from the force plate was collected for all subjects during normal walking with 180 degree rotation. Walking speed was controlled at 1.2m/s (${\pm}\;0.1\;m/s$) with timing lights on infilled artificial turf. Three different types of soccer studs and one running shoe were tested. Repeated measures ANOVA was used to determine significance. Significant differences were found in rotational friction with four different shoes. Trx and World studs tended to have greater maximum rotational friction than the running shoe (Nova) and traditional soccer shoe(Copa Mondial). The results were as follow : world(25.95Nm) > trx(25.74Nm) > copa(22.50Nm) > nova(16.36Nm). The difference may be due to the number, location, size, and shape of studs. We concluded that stud design influences rotational friction between the shoe and surface during movement. Based on studs design and contact area, Trx with blade type studs are recommended since it showed high rotational friction for performance as well as enough contact area for stability. However, differences due to the mechanical properties of soccer studs are still being investigated.

• Journal of the Korean Society of Costume
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• v.39
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• pp.181-196
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• 1998

This study is about the similarities and the individualties of the traditional costumes in the ruling classes of Koguryo(高句麗), Bakjae(百濟), and Shilla(新羅). The analysis is based on the views of historical reformation on$\boxDr$Sam-gooksagi(三國史記)$\boxUl$Bongi(本紀). The costumes that were worn by the governing classes are categorized by the following, official duties, wars, ceremonies, and recreations(hunting). Up to the present time, there has been a great tendency to emphasize the similarities of the Three Kingdoms' costumes among most of academic researchers. However, the conceptions of individualities of the costumes among the Three Kingdoms were conceived by the facts that geological environments, political systems, social traditions, social aspects, and foreign affairs. The Three Kingdoms had different official rank systems along with official costume systems. Monopolization of official positions of the ruling parties tried to show their dignity and authority through styles of their costumes. The costumes of Koguryo were greatly differentiated by geographical regions ; One direct example is cheak of Pyoungyang and Anak regiona was named as official hats of rulling parties of Kokuryo. However, in this study, the cheak was viewed as a product of influences of Chinese costume. Further-more, the laguan was named as mooguan. Costumes of ceremonial occasions were heavily decorated to symbolize dignity and auth-ority. Metal ornament of headgear and belt, metal shoes were con-sidered as ceremonial costumes. the tight hunting costumes of Koguryo shown in mural pain-ting costumes of Koguryo shown in mural pain-tings were presumed to be spring and autumn clothing. Excavated from Neungasnlee, the hunting costumes inscribed in the gold incense burnner were confirmed as hunting costumes of Bakjae. The individuality of the costumes of the Three Kingdoms could also be supported by the fact that they had different climates. The temperature difference between Gipan region and Kyoungjoo(慶州) region was emphasized. Especially winter clothing would have had a big difference in style than the summer clothing. Through the research summarized above, this study was able to confirm that each of the Three Kingdoms had developed individualized costumes based on their geographical, cultural and environmental factors. Furthermore, through this study, it was possible to find out the difference as well as the similarities of their costumes according to each of their people's sociopolitical status, awareness of indepen-dence, andunique historical and traditional charactoristics.

• International Journal of Human Ecology
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• v.6 no.2
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• pp.85-94
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• 2005

The purpose of this study is to analyze the preference of spatial elements for common space planning in senior congregate housing. For the study, 500 potential consumer's residing in Seoul was surveyed using the questionnaire in the social survey methodology. As for the common spaces, gardens, treatment, and exercise rooms were preferred. A combination of both separate and group arrangement of the buildings was preferred, indicating that people wanted separation of the common space and the individual living units. Second, people preferred sharing parts of the common space with their neighbors and as is the traditional custom, preferred to take off their shoes at the entrance to individual units. Third, for the furniture and facilities, they wanted the manager room in the lobby, the small meeting rooms in the public dining room, a fitness center in the activity room, the rack or alcove to store items in front of an individuals unit in the hallway, a chair to sit down in the elevator, and the chair to rest on the stairway landing. Fourth, in terms of priority for planning the senior citizens' community housing, safety, familiarity like a regular home, reduced isolation and loneliness, sense of belonging, economic factors, aesthetic appreciation, daily life supplement, variety, and self-identity were answered in that order.

• International Journal of Costume and Fashion
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• v.16 no.2
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• pp.67-79
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• 2016

The Oroqen (鄂伦春) traditional costume refers to what the nomadic Oroqen people used to wear before they settled into fixed communities. With very limited contact with the outside world and with limited resources, the clothing material was virtually entirely animal hide. With settlement, especially after 1996, animal hide clothing has declined among the Oroqen. As an important part of Oroqen tradition and culture, the Oroqen people keep endevoring to promote costume design through competition and exhibitions. Therefore, this paper seeks to present an insightful understanding of Oroqen culture and the formative features of their general clothing. We explored the formative features of Oroqen animal hide clothing based on an analysis of actual artifacts and literature. As a result, the characteristics of Oroqen hide clothing were found in five types - coats, trousers, hats, shoes, gloves. For the decoration, embroidery and applique were their way of decoration, and Mother Nature was their source of pattern design.

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• Journal of Families and Better Life
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• v.28 no.6
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• pp.81-94
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• 2010

This qualitative research was designed to explore the use of housing among Korean Chinese people in Harbin, China. Focusing on the use which based on the epistemology of housing adjustment, this was particularly designed to examine its cultural assimilation and acculturation on the way of life course, it employed the in-depth interview on the oral history of 5 interviewees in their 60s and 70s, individualized interviews were conducted from May 28 to 31 in 2010. Key findings were summarized as follows; 1. The free market reform in China resulted in privatization that allowed respondents to become homeowners, and the ownership was viewed as part of family asset centered upon a sense of solidarity. 2. Although homeowners in multi-story houses were responsible to decorate interior spaces, the common features in using interior spaces were found: entrance had no thresholds; kitchen was small, lack of storage cabinets, tile-flooring; washers were installed inside bathroom; and newly built apartment didn't have proper space to store Korean fermented foods. It was observed that housing adaptation outweighed housing adjustment. Those who used to live in Chinese houses with indoor-wearing-shoes or Russian houses with indoor-wearing-slippers were receptive to the use of dining table and bed, and the community heating system discouraged the use of individual electric water heater because of high electricity cost. 3. In daily life, eating habit wasn't much changed to the Chinese style, meals were shared, dish sterilizer was popular, and Kimchi fridge wasn't used. Because of the influence of the Chinese culture, such Korean traditions as ancestral rites and bedroom allocation tradition faded away, but traditional family values remained unchanged. In conclusion, Korean Chinese people experience normative housing deficits and adaptation selectively incurred. It's implied that residential design meets the needs resulting from the dual culture in terms of cultural assimilation and acculturation.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.164-180
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• 2012

This study focuses on the hats in the advertisements of the newspapers from the Greater Korean Empire to the Time of Independence. There were Yeomo(禮帽), Jungsanmoja(中山帽子), Jungjeolmoja(中折帽子), Women's hat, Undongmoja(運動帽子), and Hakdomoja(學徒帽子) from 1897 to the 1900s. The names of the hats were written with Chinese characters as there was no specific name for women's hats. There were a lot of hats in the 1910s; Jungjeolmoja, Jungsanmoja, Hukyeomoja(黑禮帽子), Panama, Doriuchi(鳥打;とり-うち), Maggomo(麥程帽), Ilkyomoja(一交字帽), cheongyeonmo(靑年帽), Jajacheongyeonmo(刺子靑年帽), Hakaaksangmo(學生帽), Undongmo, Laparyunmoja, Banghanmo(防寒帽), Mokchulmo(目出帽), Pungbangi(風防耳), Nambaui, and Pungdongi(風憧耳). Most of the hats were western hats for men. From the 1920s to 1930s, the hats were classified as to the shape and uses as compared to before that period. The hats were advertised in the newspapers such as Jungjeolmoja, Jungsanmoja, Panama, Doriuchimo, Maggomo, Ilkyomoja, cheongyeonmo, Jajacheongyeonmo, Hakaaksangmo, Undongmo, Banghanmo, Mokchulmo(目出帽), Adongmokchulmo(兒童目出帽), Pungdongi, and Pungchasamsangun(風遮三山巾). There is little information about hats from the late 1930s to the time of independence because of the censorship of the press. The hats during that period were almost the same as the before that time. There was a new name of a cap, Jeontumoja(戰鬪帽子) which was for a soldier. The hats in that period were one of the westernized items with shoes before the westernization of the Korean costume under Japanese imperialism. Furthermore, the western hats could be spread by the men who were in the center of the society. On the other hand, women's western hats were not common because women had rarely worn them before that period. They just wore traditional winter caps steadily.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.149-162
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• 2008

The Regular rule of Sang-uiwon served as a manual of Royal Attires. According to the procedures, like as making letters about the affairs, consulting, and permission, Royal ceremonial attire was made and presented to the royal family. The materials for the Royal informal dress were presented in accordance with usual tributes. There was no difference in informal dress between the royal family and noble class. But the name of items was different such as Goa du[man's jacket], Go ui[woman's jacket], etc. The royal family continued to wear old days dress as akjurm and noui, which were not worn by common people any more, as a means of differentiating clothes. Bub-bok, which was designed only for key figures of the royal family such as the king, crown prince, queen, and crown princess, was the best status symbol. Because of its highly limited example of wearing, bub-bok was the authority of the wearer itself; with only difference in color, pattern, and material depending on social status. Yong-po is the most frequently worn by the Royal men. Yong-po worn with jong-lip served as yung-bok or gun-bok, and iksun-gwan functioned as sang-bok. Royal Attire for men was clearly divided into Yong-po as sang-bok, bub-bok as myun-bok and gangsa-po, while jeok-ui for women functioned as both sang-bok and bub-bok. However, the use of jeok-ui was defined by differentiate sang-bok from bub-bok like as the pattern of Hyung-bae, number of embroidered round badges, shoes and ornaments.

• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.11-18
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• 1980

This study attempts to discern the purchasing pattern of urban husbands' clothing in Korea. Studies on this subject in other cultures show that wives play lesser role in purchasing activities of their husbands' clothing in the industrial societies rather than in the pre-industrial ones. It would be interesting to know the way selecting and buying husbands' clothing in urban Korea. Specifically questions to be answered include: Who makes the decision in selecting in kinds of husbands' clothing and who buy them? Data for this study has been collected through structured questionaire survey for 606 married women in the City of Seoul including 192 mothers of elementary school students, 58 elementary school teachers, 210 mothers of middle and high school students, 56 mothers of undergraduate students, and 47 college professors. Since most women of our sample are relatively high in educational level and working for various educational institutions, the findings of this study should not be generalized as a general trend of urban Korea. Major findings of this study include: 1) Purchasing husbands' clothing is not entirely wives' domain. The degree of participation on the part of wives in selecting and buying of their husbands' clothing depends upon the kinds of clothings. If it is for such items as underwear, socks, handkerchief, or umbrella, which are relatively easy to choose in terms of size, outlook, and price, more wives do the job. Other- wise, however, husbands more actively participate in selecting and buying their own clothings such as shoes, overcoats, neck tie, and formal wear. 2) In terms of clothing behavior of husbands, it seems to be a general trend that husbands select their clothings, but wives buy them. 3) Variables related to socio-economic status seem to affect the clothing behavior of husbands. Those who more actively participate in selecting and buying their clothings include: husbands whose wives have a job outside thier family, younger in age, middle school or high school graduates rather than college graduate or husbands with far lesser education, and husbands who live in western style houses rether than in traditional Korean houses.