• 복식문화연구
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• 제29권2호
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• pp.204-221
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• 2021

The morning ritual was a rite whereby a morning audience with the emperor was held for feudal lords sovereigns and subjects living in the precincts, monarchs or foreign envoys of the outskirts of the capital, and other ethnic group. Distinction between the main and subordinate rituals, changes in the ceremony according to the times, and the position or rank of those participating in the rite, were factors that directly affected the costumes worn for ritual. Accordingly, in this paper, the costumes worn by members of the Ming dynasty (emperor, prince imperial, prince) were examined in terms of the period and detailed ceremonies with a focus on the morning ritual and costume systems presented in the official historical records. Through this study, only Mian-fu (冕服) and Pi-bian-fu (皮弁服) were defined by the costume system ase costumes worn in the morning ritual. However, through comparative analysis with the morning ritual system, it was confirmed that Tongtian-guan-fu (通天冠服), Yishan-guan-fu (翼善冠服), and Bianfu (便服: slightly casual wear) were also worn. It is worth noting that the color of Gunlong-pao (袞龍袍) was differentiated according to status; the Emperor wore yellow, the Prince Imperial and lower levels wore red, which was the traditional perception of academia. However, following confirmation of the custom costume for the morning ritual, it was confirmed that the color of this differentiation appeared during the 3rd year of Emperor Yongle of Ming (1305). Previously five traditional colors (blue, red, yellow, white, and black) were used for the season.

• 한국의류산업학회지
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• 제23권6호
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• pp.758-769
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• 2021

The purpose of this study is to analyze the traditional embroidery in India by region based on Bourdieu's cultural theory. As the research methods for this study, literature and case studies were conducted. The results of the study are summarized as follows. First, India's regions could be divided into four distinct regions based on language and religion. The main concepts of Bourdieu's cultural theory, namely the sub-dimensions of field and habitus, were the field of social system, the field of goods & economy, the field of environment/region, culture, and ethnicity. Second, Eastern India's embroidery was influenced by Hinduism and traditional art. The embroidery used various fabrics such as the Applique work, and vivid colors and patterns were mainly used in the Hindu myths, animals, and flower patterns of the embroidery. Third, embroidery in Western India was influenced by exotic cultures like Persian due to geographical conditions, and embroidery via the use of gold threads and various ornaments was developed. Symbolized flower patterns and geometric patterns were used a lot in the respective embroidery. Fourth, embroidery in southern India was influenced by the Dravidian culture and their architectural style, which saw the emergence of an embroidery that used simple colored cross-stitch. Most of the patterns in this embroidery are geometricized. Fifth, Northern Indian embroidery has historically served as the center of power, resulting in an embroidery that uses various forms and materials. In this embroidery, flower patterns are mainly used. Finally, the characteristics of the traditional embroidery of India's each region is based on Bourdieu's cultural theory, which could be summarized as ethnic religiosity, exotic splendor, structural formality, and symbolic power.

• 한국의류산업학회지
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• 제23권6호
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• pp.709-725
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• 2021

The study focused on the design features of Chanel and Fendi, directed by Carl Lagerfeld, creative director of Chanel and Fendi until his recent death. The range of the study was from the 2017 S/S Collection to the 2019 F/W Collection, which collected a total of 767 fashion photographs, including 483 Chanel, 284 Fendi, with tops, bottoms and dresses at VOGUE (https://www.vogue.com). According to the data analysis criteria organized based on prior research and related literature, it was classified in the order of form, color, material, pattern, decoration, fashion image, item and coordination, and content analysis was conducted based on statistical analysis. Overall, the design characteristics of the Chanel collection, directed by Karl Lagerfeld, were rectangle form, tone in tone coloring, combination of identical materials, geometric patterns, and classical images as the main design characteristics of the Chanel collection. The design characteristics shown in the Fendi collection directed by Karl Lagerfeld were rectangle form, tone in tone coloration, hard material combination, abstract pattern, and total coordination. Comparing the design features of Chanel and Fendi, directed by Karl Lagerfeld, is as follows. Chanel and Fendi's designs show a lot of rectangle form, tone-in-tone colors, hard-materials and combination of the same material.

• 한국콘텐츠학회논문지
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• 제22권4호
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• pp.727-741
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• 2022

이 글은 1990년대 이후 미국 애니메이션을 연구 대상으로 삼았으며, 현대 팝 예술 양식을 대상으로 현대 팝 예술 양식이 당대 미국 애니메이션 예술 창작 표현과 당대 미국 애니메이션에 미치는 영향을 세밀하게 정리하였다. 미국 애니메이션이 세계를 휩쓴 이유를 알고, 현대 미국 애니메이션의 예술 창작 특징을 정리한다. 당대 미국 애니메이션과 긴밀한 관계를 맺고 있는 포스트모던 팝의 예술 양식이 당대 미국 애니메이션에서 어떻게 표현되고 있는지 살펴본다. 이론과 실제 애니메이션 작품을 결합한 연구 논증을 거친 후, 현대 미국 애니메이션에서 포스트모던 팝의 주요 표현 방법인 과장되고 심플한 조형을 통한 캐릭터 특징 부각, 반항적인 색채를 이용한 정서적 감각의 재구성, 대중매체를 이용하는 창작활동, 반복되는 요소 간의 조합과 같은 방식을 이용하는 장난스러우며 기존의 것을 희화화 하는 포스트모던의 정신을 구현한다. 이를 통해 현재 미국 애니메이션의 분석이 국내 애니메이션 디자인에 새로운 혁신 아이디어를 제공하고, 국제 영상 애니메이션에서 국내 애니메이션의 경쟁력을 높여 줄 것으로 기대한다.

• 한국엔터테인먼트산업학회논문지
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• 제14권7호
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• pp.299-307
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• 2020

1964년부터 국악기의 현대화, 표준화, 과학화 등을 위해 국악기에 대한 연구와 개량사업이 추진되었으나, 국악기가 가지고 있는 고질적인 문제들은 큰 성과를 거두지 못하였다. 이러한 주요 원인중 하나는 국악기에 대한 악기 음향학 연구가 선행되지 못한 것으로 분석되고 있다. 국악기 중 협주곡이나 독주곡에서 사용하고 있는 소금은 맑은 음색과 높은 음역으로 인하여 국악관현악단에서도 서양 오케스트라에서의 플룻의 역할을 수행하고 있는 악기이다. 본 논문에서는 비슷한 음색으로 들리는 소금과 플룻의 음색을 악기가 가지고 있는 배음의 분포와 구조를 통해 분석하였다. 이를 통해 전체적인 음색은 소금에 비하여 플룻이 풍부하고 부드럽다는 것을 알 수 있었고, 고음으로 갈수록 배음들의 비슷한 구성으로 인하여 두 악기의 음색이 비슷하게 들린다는 것을 알 수 있었다. 추후에는 다양한 국악기들에 대한 악기 음향학적 연구가 지속적으로 수행되어 국악기의 대중화와 세계화에 작게나마 도움이 되길 기대한다.

• 한국융합학회논문지
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• 제13권1호
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• pp.189-199
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• 2022

현대의 일러스트레이션 디자인은 독창성을 필요로 하는데, 해양생물의 형태와 색채는 일러스트레이션 창작에 풍부한 소재를 제공한다. 일러스트레이션은 디자인적 창조 가치가 매우 높다. 본 연구는 해양생물을 거울삼아 색채학적 지식과 시각적 형태설계를 통해 이를 밝히고, 일러스트레이션 디자인과 해양생물을 주요 연구대상으로 하였다. 본 연구목적은 ① 해양생물의 전형적 특징을 색과 형태 중심으로 정리, ② 이를 해양생물을 대표하는 그래픽 기호로 도출하여, ③ 일러스트레이션으로 접목할 수 있음을 해양생물 일러스트레이션 제작으로 사례를 제시하였다. 연구를 통해서 결론을 도출하고, 해양생물과 육지생물을 구분하는 전형적인 특징 중 하나로 곡선적인 특징을 부각시켰다. 열대어 색채 현상에 대한 분류 연구와 비교분석을 통해 도출한 열대어류의 색채 특성을 바탕으로 해수 열대어의 색채를 추출 및 가공하여 일러스트레이션 디자인에 활용할 수 있다.

• 수완나부미
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• 제2권2호
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• pp.1-28
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• 2010

This paper offers a brief introduction to Vietnamese folk paintings. The discussion compares Vietnamese folk paintings with the Korean folk painting tradition. Among the main purposes of this paper is the exploration of directions for future research on Vietnamese folk paintings. Vietnamese folk paintings, although extensively influenced by their Chinese tradition of minjian nianhua (folk New Year pictures), form an independent tradition, reflecting the local lifestyle and religious practices of Vietnam. However, compared to Korea or Japan, China remains the dominant source of influence for Vietnamese folk paintings. They were either created using a combination of painting and woodblock printing techniques, which was also the case with minjian nianhua, or using multicolor woodblock printing techniques. In cities like Hang Chong, the combination of painting and woodblock printing techniques was used mainly, following the customary practice in Yangliuqing in Tianjin, China, in which colors were added to the drawing printed from the woodblock. Meanwhile, folk paintings produced in rural areas such as Dong Ho are wholly color woodblock prints, similar to minjian nianhua from Yangjiabu in Weifang. In Lang Sinh, simple drawings, intended for casual purposes, were also created using the combination of woodblock printing and painting techniques. Folk paintings produced in cities and rural areas were distinct from each other, not just in techniques, but also in terms of style and theme. Vietnamese folk paintings show a certain degree of thematic similarity with Joseon folk paintings. This is mainly due to the fact that the two countries' folk paintings developed and evolved in parallel with their Chinese counterparts, minjian nianhua. Also noteworthy is the fact that Vietnamese folk paintings, while they share the simplicity and candidness of Joseon folk paintings, are at the same time somewhat more decorative than the latter. For best results, future research on Vietnamese folk paintings should be conducted together with research on minjian nianhua. Traditional pigments constitute an important area of research in this field. Attention should be also paid to the religious paintings of ethnic minorities in Vietnam, as they are discovered in the future.

• 국제학술발표논문집
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• The 5th International Conference on Construction Engineering and Project Management
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• pp.634-639
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• 2013

The aim of the study is to develop the 3D visualization of Building Information Model and integrated 4D model for optimization of resources in the construction project. This study discuss the process of methodology and creation of 4D model of the project and simulate it to monitor the workflow at the site. Different stages of the construction process and activities are generated by using Revit and MS Project. MS project has been used for creation of the schedules and these are linked with the Revit for 3D modeling. The time used as the fourth dimension and 4D model created by using Navisworks Time liner software. Narges shopping center is presented as a case study to realize the actual uses and benefits of Building Information Model (BIM). Narges shopping mall is located in Tehran, Iran. As a part of Hekmat master plan, Narges shopping center is an 11 stores building with a total area of 30000 Sq.m. This shopping and entertainment center is comprised of 150 retails and two multi-use public halls with a capacity of 400 persons each and underground parking with total 400 parking space. The main purpose of architecture was to create an urban public center along with its revolving, spiral like form and an ever changing continuous façade by means of different colors, materials, which is in harmony with the other building of the master plan. The approximate cost of the project is $17 million and duration of the project schedule is 30 months. The developed Building Information Model enabled us to identify the potential collisions or clashes between various structural and architectural systems. 4D model has been used for limiting the interaction between subcontractors installing the different systems so rework could be avoided and productivity maximized. It is also observed that the utility of BIM for construction stimulation and clash detection is the best suitable method. Clash detection before the implementation of work is highly recommended to avoid rework.

• 한국작물학회:학술대회논문집
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• 한국작물학회 2022년도 추계학술대회
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• pp.79-79
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• 2022

Common Buckwheat is a crop with high nutritional value due to its high protein, magnesium, iron, and vitamin content, as well as excellent rutin and quercetin content. This study was conducted to investigate the main agricultural characteristics of common buckwheat genetic sources and use them as basic data for establishing cultivation technology and fostering new varieties. The seeds were planted in the research field of Chungbuk National University on 24th April, 2022 maintained at 15 × 20 cm planting spaces. To evaluate the genetic diversity and morphological traits of buckwheat, different kinds of qualitative and quantitative traits were investigated of the 50 varieties. The germination percentage of common buckwheat showed more than 85% that also showed the uniform germination. During the flowering period, all varieties bloomed within six days from June 18 to 23. The leaves color of common buckwheat were all dark green, and most of the stem colors were mixed with light green, light red, red, and crimson. The leaves of common buckwheat were mainly heart-shaped, and most of the flowers were white. The leaf length was 65.78 to 40.53 mm, and the width was 74.42 mm to 39.74 mm. The stem thickness was between 3.5 and 3.76 mm and the length was between 97.3 cm and 40.24 cm.

• Journal of Information Technology Applications and Management
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• 제29권6호
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• pp.123-134
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• 2022

War films are a general term for films that have battlefields as their main background. Although war films as a genre directly deal with combat situations, they also deal with characters or subjects related to war. War films promote patriotism and nationalism, but they also argue against war by highlighting the disastrous war. This study is based on the color theory that the meaning of film color is temporarily and infinitely generated according to the cultural differences, with Eisenstein's creative theory on film color and pathos. I wanted to clarify the pathos effect and the meaning of color green expressed in the Korean war films. In war films, colors are visualized in art forms such as symbols, similes and metaphors. In war films, color green symbolizes life. On the battlefield, the green of nature stands against the catastrophic situation. The green of ecology, which insists on the flow of life, evokes fear in ecological crises such as war, disaster and climate change. The dark green caused by a catastrophe like war warns of the destruction of life. The connotation of color is temporarily and infinitely expands according to the cultural differences. The dark green, which visualizes the battlefield of destruction, is a form and element of pathos that indicates changes in emotions such as sadness, pity, grief and despair. Pathos as an emotional appeal is a leap from the quality to the quality of the means of expression and refers to the departure from Dasein. The green color that dominates the visuals of war films is a symbol of life and functions as a pathos that makes emotional changes take a new leap. A qualitative leap through pathos means all changes that become new.