• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.955-971
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• 2015

The purpose of this study is to consider the design characteristics of Chinese traditional clothing, especially from the Ming-Qing Dynasty era, and how they have influenced contemporary fashion. Regarding research methods, this study determined the design characteristics, such as the form, color and pattern of Chinese traditional clothing of the Ming-Qing Dynasty era. In addition, 440 photos were collected from the Paris Collection from 2005 to 2014 using www.firstviewkorea.com. The results of this study are as follows. First, the most popular silhouette from Chinese traditional clothing appearing in contemporary fashion was the H-shaped one, and the internal lines appeared in the following order: Chinese collar; narrow sleeve; symmetrical front opening; round collar; wide sleeve; and the C-shaped Biwa front-end. Second, the most popular color was achromatic black, followed by white. The chromatic colors were in the order of blue, yellow, red, green, and purple. Third, the patterns appeared in the following order: Plant patterns, complex patterns, and animal patterns. The peony pattern appeared the most commonly as a plant pattern, followed by the arabesque pattern and the plum blossom pattern which appeared with a similar proportion. Dragon, bird and phoenix patterns appeared the most for animal patterns. It is considered that the results of this study will be helpful for designing products for Korean fashion brands that will advance to the Chinese market. In addition, it will help Chinese designers apply the Chinese-style design characteristics popular among people throughout the world when they advance to the West.

• Journal of Korean Library and Information Science Society
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• v.48 no.1
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• pp.267-289
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• 2017

The objectives of this study are to survey publications of the chinese version of surviving to the present day and to analyze their characteristics systematically based on physical bibliographical assessment of its 42 versions. Important findings are following: During the Chosun Dynasty, the largest number(69%) of publication and distribution of was from the Youngrak Version(Ming Books) of "ShiJundaquan", of which reversely engraved editions, typologic editions, and the reversely engraved editions of the typologic editions were found. Among 42 versions, 14 reversely engraved editions are originated from the Youngrak Version. Those from earlier versions to the versions right after ImjinWar were similar to Youngrak Version in morphological characteristics, later some editions were found to be far different from Youngrak Version by repeating the reverse engraving. As for the publication time of , most editions were printed in the 18th century. The publication region of was also examined, Gyeonggi and Gyeongsang regions are the most frequent printing places. Typologic editions were printed mainly at Gyeonggi region, and the reversely engraved editions from Ming Books were printed at Gyeongsang region as Gamyeongbon (the books from Supervisory Office).

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.63-72
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• 2012

In this study, Characteristics of colors on Chinese traditional costume in Tang, Song, Yuan, Ming, and Qing Dynasty were compared. And general colors of Chinese traditional costume and the viewpoint of them were considered. The purpose of this study were to apt colors of Chinese traditional costumes to the sensory appetite of modern people for new things, and make the recreation inspired by new senses be applied into the fashion industry effectively. The results were as followed : Firstly, colors distribution of 5 dynasties were different. In the Tang, R(red) was highest, YR(yellow red) and Y(yellow) followed. In the Song, YR was highest, Y and R followed and PB(purple blue) was increased, In the Yuan, R, YR, PB, B were concentrated at low rates, and other colors were increased, In the Ming, Y, R and B were concentrated at low rates orderly, and other colors were increased, In the Qing, PB was highest and Y, R, YR, B, P(purple) were increased. Secondly, tons distribution of 5 dynasties were different. In the Tang, L(light) was highest, P(pale) and Lgr(light grayish) followed. In the Song, P(pale) was highest, Lgr, Gr(grayish) and Dl(dull) followed In the Yuan, Dp(deep) was highest, P and Lgr followed, and other tones were increased, In the Ming, S(strong) was highest, DI and V(vivid) followed. Thirdly, The general colors of 5 dynasty were R, YR, Y, B, PB colors with vivid, deep and light tones. Forth, the viewpoint of color on Chinese traditional costume was based on the Yin-Yang and the Five Elements theory. Based on results of this study, the successive researches will be carried out about the unique colors of each nation and application traditional colors to modern fashion industry in order to the unique cultural sense.

• (The)Study of the Eastern Classic
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• no.35
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• pp.135-159
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• 2009

Since the military servants' rebellion, the society of the Goryeo(高麗) dynasty had been getting into crisis worse and worse until late in it. Late in the 14th century, the society was constantly meeting tension and chaos including decline of the Yuan(元) dynasty, sudden rise of the Ming(明) dynasty and etc. This study is aimed to investigate the idea of justice and theory of governing advocated by Yaeun Jeon Nok Saeng, who lived in such tensed and chaotic era. Under the circumstance that threatened the national power of the Goryeo dynasty in the era where the Yuan dynasty changed to Ming dynasty, his idea of justice was expressed as "Theory for Friendship with Ming and Against Yuan", which was proposed in the aspect of considering the safety and maintenance of the nation and getting back the original national power of a country Goryeo. He thought that you should not make your people bothered by or troubled in their works but you should make them concentrate on their jobs for living to govern them eased. He emphasized that you should focus on stability of people's welfare in gentle ways not bothering your people even a little bit because he thought that the situation of that era looked like a thread bobbin so that it could get naturally and easily twisted if you went in hurry.

• Cross-Cultural Studies
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• v.51
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• pp.133-160
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• 2018

The films of Apichatpong Weerasethakul and Tsai Ming Liang expose one of the main features of modern Asian cinema: corporality. In their films, the various emotions of characters are expressed and exchanged through the body, not the language, so their film world is a world in which language has lost its function and symbolic order has collapsed. In Apichatpong Weerasethakul and Tsai Ming Liang movies, body language plays a more important role than general language. t=The body performs semiosis, pointing to wildness, anti-civilization, rite, alienation, illusion, etc. At the root of this variety of semiosis is the common denial of Western material civilization which has been rapidly transplanted in modern Asian countries. In addition, while the body of the two directors' films are seen as a sign of wildness, or anti-civilization that contains the intention of escaping from the oppressive and inhuman modern civilization, the body as a sign of illusion, and embraces the will of resistance to civilization. The illusion of experience in their films is ultimately a manifestation of the will to resist the physical and emotional pressures of reality and to continue the irrational persistence.

• The Research Journal of the Costume Culture
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• v.29 no.2
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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.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.2
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• pp.233-252
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• 2021

The Gwan ceremony (冠禮) is a coming-of-age ceremony that takes place through traditional Gwan (冠: the hat) and clothes in the traditional era. The rite is performed by wearing hats and clothes three consecutive times (三加禮). It was an important rite which meant that underage children were formally recognized as members of society. This study examined costumes of people who participated in various coming-of-age ceremony rites in the Ming dynasty imperial court of China. For the research data, this study mainly used authentic chronicles (正史), codes of law and books on Ming dynasty rituals. This study examined the costumes used in the coming-of-age ceremony for the emperor, Prince Imperial, Emperor's eldest grandson, and emperor's sons. The results of this study were divided into an analysis of the document structure, institutional changes by time, characteristics of costumes, and characteristics of the rite. Of particular note in their ceremony, the emperor is presupposed to be a 'human already full-equipped with virtue', which means that the costume is worn only once. It is a case in which the emperor's absolute identity is revealed through the rite and costume.

• Journal of Construction Engineering and Project Management
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• v.7 no.1
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• pp.37-49
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• 2017

The Jinshanling section of the Great Wall of China is a series of fortifications in northern China that was constructed for strategic military defenses. This section was first built in the beginning of the Ming Dynasty in AD 1368 and then underwent major construction, reconstruction and renovation during the late Ming Dynasty, approximately in AD 1569. The Jinshanling section is 10.5 km long, a very short section compared with the entire 21,200 km wall. The wall section is located in Luanping County, Hebei province, China. This research paper focuses on the construction methods and materials of the wall and the towers in the area. The research methodology includes site visits, knowledge acquisition of experts and 3D graphic modeling. This study reveals that the materials selected for the structure include rubbles and rammed earth, bricks, stones, timber, and mortar. The erection sequence of the wall and the towers was a bottom-up fashion using various ancient construction techniques, such as the fire-setting rock blasting techniques and the surveying techniques from the Sea Island Mathematical Manual.

• Journal of Korean Medical classics
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• v.28 no.1
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• pp.21-34
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• 2015

Objectives : The treatment starts with physical examination. The four examinations(四診) is a method to examine the disease. The books on history of diagnostics about it contained substantial contents about inspection(望診) and palpation including pulse taking(切診), while they contained little contents about auscultation(聞診) and interrogation or questioning(問診) relatively. For this reason, this study was conducted as on interrogation first of all. Methods : I looked into the contents related to interrogation that were scattered in plenty of books. There were chapters of specialty in interrogation since the Ming dynasty, so I looked into these chapters in chronological order. Results & Conclusions : The level of the contents of interrogation prior to the Ming dynasty were rudimentary and recapitulative. However, there was a turning point by three kinds of books appeared in the Ming dynasty. Yixuerumen Wenzheng dealt with detailed contents. Yixuezhunshengliuyao Wenbingbixiang extended the range of contents. Jingyuequanshu Shiwenpian systematized Eight Principle Pattern Identification(八綱辨證) with increase of contents. Since then, books of the Qing Dynasty were mostly based on three kinds of books ahead. Among these, Yimenfalu Yimingwenbingzhifa(醫門法律 一明問病之法) and Xingsewaizhenjianma wenfa(形色外診簡摩 問法) mentioned the importance of a succinct interrogation that hit the mark and Yibian Yiwenzheng dealt with another detailed contents unlike the previous books based on substantial contents.

• Journal of the Ergonomics Society of Korea
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• v.16 no.2
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• pp.29-38
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• 1997

The research on the factors which effect on legibility is mainly utilized as the basic data of selecting the standard guideline of VDT screen. But the research on Korean is scarcer than that of English. Furthermore, it is unreasonable to apply the results of the foreign language to Korean, beause of the difference between the typography of English and that of Korean. Therefore, more systematic and ergonomic research of the Korean typography on VDT screen is needed. In this paper, an experimental study on search speed and error rate is designed and performed according to different Korean letter size and font on search task with VDT. The experimental screen based on popular Ming and Gothic style is made up of total 12 artificial screens, each 6 different font size. As the criteria of the performance, searching speed(s.s.) and error rate (e) are selected, and CFF value is measured to evaluate user's visual fatigue. The results of experiment in font show that the Korean Gothic style is superior to the Korean Ming style in user's visual performance. The letter size that gives user the optimal performance ranges from the visual angle 39.8' to 55.5' in Ming style, from the visual angle 39.8' to 52.6' in Gothic systle. In visual fatigue experiment, the better performance of letter size is, the less tired user feels. And the smaller letter size is, the more tired user feels. There is no relationship between font and user's visual fatigue.