• 복식문화연구
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• 제18권1호
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• pp.44-63
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• 2010

The purpose of this study was to examine the process to manufacture costume design of main female characters of TV historical drama and suggest the costume, which is developed with contemporary taste. 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 study results were as follows. The costume was decided by researching historical investigation material on the basis of synopsis, grasping director's basic intention, setting design direction, preparing design map of each character, selecting style, detail, fabric and color, manufacturing sample and performing camera test. The design concept of was Modern & Chic & Clean, short & fitted chogori, chima with wide & abundant cocoon silhouette, clean & bright colors and 100% silk fabric. For the design discrimination of royal semi-formal costume, color was used to symbolize character and pattern was used to symbolize social status. In addition, detail change was adopted depending on the body shape of actor and there was almost no design discrimination in silhouette and fabric. Petticoat of the west, modernization of transitional pattern and change of detail were adopted as design elements to add contemporary taste.

• 동아시아식생활학회지
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• 제15권5
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• pp.504-515
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• 2005

The purpose of this study was to have a proper understanding and a concern about native local food in Jecheon area. The data was obtained by use of questionnaires to residents in Jecheon and statistical analysis was performed The results were as follows: 1. Deodeokgui got the highest score in perception, preference, and possibility of development as a native local food in Jecheon. 2. Hyangeobaeksuk and Memiljeonbyung are significantly different in perception by gender. Perception scores of native local food were not significantly different by increase of age and resident period The perception scores of Dotorichaemuk and Minmulbibimhoe by nuclear family member were significantly high compared with that by extended family members. The perception score of Deodeokgui increased as the monthly income increased 3. Female subjects liked Gondeurebap and Memiljeonbyung whereas male ones liked Hyangeobaeksuk and Minmulbibimhoe. Preferences of Torimyun, Dotorichaemuk, Kongtang, Hyangeobaeksuk, Chikyori, Gobonju Seungumchotteok were increased as the age increased 4. According to this study, modernization was required for development of native local food.

• 한방안이비인후피부과학회지
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• 제21권2호
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• pp.112-119
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• 2008

Objective : The quantification of pulse diagnosis is an important subject utilizing as a modernization of Oriental medical diagnosis and as a basic data for collaborative access between East and West Medicine. This study was to observe the tendency of pulse diagnosis in atopic dermatitis patients as measured by pulse diagnostic apparatus. Methods : We did pulse diagnostic test about 11 new outpatients who had visited the department of ophthalmology, otolaryngology, dermatology in Kyunghee oriental medical center from March 1, 2007 to October 31, 2007 and had atopic dermatitis. Results : The results were as follows. 1. Among the 11 outpatients, the total number of male patients were 5 and female patients were 6, and the age distribution, the most frequently visited age groups were 10-19 years old and 20-29 years old(each 4 patients). 2. The most common period of onset to first examination were 3 years${\leq}$ (7 patients). 3. There were 8 patients who had emphasized T-wave. 4. There were 7 patients who had repeated pulse wave pattern. Conclusion : In 11 cases who had atopic dermatitis, 8 patients had emphasized T-wave and 7 patients had repeated pulse wave pattern.

• 한국조경학회지
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• 제49권5호
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• pp.27-45
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• 2021

본 연구는 서울 근대화의 주역인 김현옥 서울시장이 추진한 공원녹지 정책의 경로를 추적하고 그 특성을 밝히는 것을 목적으로 하였다. 그의 공원녹지 정책 논의를 발전시키기 위해 하이 모더니즘의 관점을 투영하였다. 하이 모더니즘은 전후 도시재건사업에서 나타나는 불가피한 현상으로 국가 엘리트들에 의한 이상적 사회질서와 합리적 계획에 대한 신념의 형태로 출현하였다. 이것의 특징은 가독성 구축, 권력에 의한 신속성과 편의성, 민간 참여와 이익 창출, 그리고 건설되는 도시의 스펙타클을 실현하는 것이었다. 하이 모더니스트로서 김현옥 서울시장의 도시계획은 폭증하는 인구와 서울 영토의 확장에서 비롯되었다. 그리고 그의 공원녹지 정책은 서울 외곽으로 공원을 확장시켰고, 도심에 위치한 공원을 전용하는 이원적 태도를 보였다. 한편 공원조성을 위해 민간의 참여를 유도하였지만 장소성을 소거하고, 관련 제도를 배제하는 근대화의 이면을 보여 주었다. 김현옥 시장의 공원녹지 정책의 경로는 인구증가에 대응하고 공원의 잠식을 해소하는 것에서 출발하였다. 그리고 정책의 궁극적 목표는 도시계획 현실화를 수용하고 비재정방식 실험하는 것이었다. 하이 모더니즘을 반영한 그의 공원녹지 정책의 특성은 첫째, 국토계획학회, HURPI 그리고 장문기로 대표하는 엘리트들이 참여하였고, 둘째, 사방위의 축, 표고 기준 그리고 인구 예측을 반영한 합리적 계획에 의한 공원녹지의 가독성을 구축하였다. 셋째, 급격한 도시변화에 대응하기 위해 신속하게 공원을 해제하였고 넷째, 민간자본을 유치하기 위한 이벤트와 스펙타클을 과시하였다.

• 디자인학연구
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• 제17권4호
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• pp.251-258
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• 2004

현대는 정보화시대의 절정에 도달한 상황으로 디지털문화로 인한 문화범람 속에 자리한 듯하다. 동서의 예술과 문화가 서로 접목되어 퓨전문화의 의미가 보편화되고 삶의 질이 향상되어 그 어느때보다도 풍부한 문화적 혜택을 누리고 있다고 여겨진다. 이러한 상황에서 자칫 문화의 혼합으로 문화원류를 저버릴 우려와 함께 특히 우리 문화에 대한 가벼운 인식과 이의 혼합보존에 있어서 자리매김이 소중하며 더 나아가 다음 세대들이 이어나갈 우리문화의 가치에 대한 재조명이 중요시되는 시점이다. 이에 본 연구자는 부산지역의 거대한 축제역할을 하며 중요무형문화재로 지정된 <동래야류>에 대한 관심을 갖게 되어 이의 전수와 활성화를 위한 방안을 연구하게 되었다. 무형문화재를 구성하고 있는 음악, 의상, 춤사위, 소품 등의 컨텐츠 중 시각적인 효과가 크고 과거와 현재에 그 형태적 차이가 큰 의상부분을 택하여 개발부분으로 설정하였다. 탈의 해학성과 어울리면서 신세대들이 선호할 수 있는 의상으로 디자인의 현대화를 제안하므로 전통문화에 대한 관심을 유도하며 한편 지역문화축제 활성화를 위한 작은 모티브가 될 수 있기를 기대하였다.

• 미술이론과 현장
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• 제3호
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• 복식문화연구
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• 제23권4호
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• pp.581-594
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• 2015

The emergence of pop art in the 1960s exerted a profound impact on integrating art into the real lives of the general public, which continues in the current area of culture of post-industrial society. Thus, this study aims to attempt the popularization and modernization of Korean images by applying the concept of pop art to the development of a national symbolic image. This study utilized Mugunghwa, Taegeukgi, and the Great Seal, which are national symbolic images that establish the identity of Korea through differentiation, universality, and visual formativeness. It then proceeded with the development of neo-pop art motives and patterns using national symbolic images from the standpoint of symbolism, mix-match, and repetitiveness from among the characteristics of neo-pop art. This study carried out pattern design by departmentalizing each characteristic according to the standpoint of neo-pop art through scribbles composed of the following: Signs, pictograms, and childlike characters; drawing simplification for symbolism; a mix of the East and the West; a mix of subfashion and subculture for mix-match; the repetition of lines, characters, and icons; and the exaggeration and grotesqueness of characters and icons for repetitiveness. This study is expected to serve as momentum for raising the cultural value of Korea and for the development of a pattern design capable of achieving worldwide competitiveness through the combination of the permanence and continuity of national symbols with the popular universality of pop art.

• 한국의류학회지
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• 제33권8호
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• pp.1241-1252
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• 2009

This study is on the internal and external characteristics along with the phenomena of dress and ornaments expressed in them by analyzing Re-orienting Fashion (which is a system of signs and symbols) based on the theories of semiology in the search for the Korean identity by examining a Re-orienting Fashion that is being reinterpreted. Re-orienting Fashion performs the role of signs that act in the spread of Oriental culture through the globalization of traditional dress and ornaments in the Orient. It also has a meaning that converts the world of fashion to a new direction. When analyzing the system of signs and symbols in Re-orienting Fashion (based on the theories of semiology) the conclusions are that an eclectic symbol system has been formed by the combination of the pursuit of modernization in traditional dress and ornaments with post-modernism. A nature-friendly symbol system has been shaped as a natural silhouette in terms of the combination with Eastern philosophy that searches for a harmony with nature according to ecological trends. The ideal of a symbol system means the introduction of design elements in traditional dress and ornaments of the East as a rejection of Western civilization and as an alternative to the fixed pattern of the West.

• 한국의상디자인학회지
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• 제21권1호
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• 복식
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• 제56권9호
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• pp.127-142
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• 2006

In this study, I have analyzed Indian traditional clothing in fashion design of 21st century by comparing 1,286 fashion items designed by Indian designers and 722 Western fashion items, which were presented from 2000 S/S to 2005 F/W Formal analysis were made for change in how to wear clothes, and change in items and ornaments. Change of traditional clothing was found in two ways; Western elements added to Indian tradition and Indian traditional image adopted in Western clothing. First, Indian traditional elements added to Western clothing in the formal aspect was found in 83% of Western collections and 27.2% of the Indian designers' collections. In Indian designers' collections, traditional clothing form takes 72.8%, which shows the regional characteristics of India where the traditional clothing is still adhered to in daily life especially by women. Second, from the fashion design of the Indian designers, we can find modernization of sari, change of traditional items into more active and modern way by adding Western clothing; change of form, color and material of traditional items in various ways; and decorative aspects highlighted by adding Indian traditional color, pattern or decoration into Western clothing. In most cases, Western collections are seasoned with Indian traditional image, rather than utilizing the form of Indian clothing. Although adopting the farm of Indian traditional clothing, it can be considered as a translation from the viewpoint of the West. Third, Indian look is expressed in various ways by reproducing Indian traditional ornaments such as earings, bracelets and henna, or by adopting Indian traditional fabric design and decoration in mufflers, bags and etc.