• Cross-Cultural Studies
• /
• v.35
• /
• pp.79-95
• /
• 2014

This article aims at rethinking on people of Modern styles in early modern period with reference to A Large River[Dae-Ha] written by Kim Nam-cheon at 1939. Park Sung-guoen could be called to Homo Economicus, first, have maximized of self-interest in rapid changes of Korea society with loan sharking, rising to upper class in new early modern era instead of traditional nobleman. Park Hyung-geol could be said romantic guy, second, have chased romatic love consist of three elements(love-sex-marriage). But he troubled his love affairs to his family members frustrated his will because of a bastard son. It is the model of situations, Kim Nan-cheon intended to describe, that Homo Economicus became an object of envy among people in early modern society as well as the choice has been hard in conflicting between family and lover, concretizing anachronism through history of family.

• Journal of the Korea Furniture Society
• /
• v.24 no.2
• /
• pp.156-182
• /
• 2013

In this paper, the origin, development and features of a Korean folding stool are studied. A folding stool is a piece of collapsible seating furniture with its legs crossed in the form of the letter "X" and no back attached. In China, the folding stool was introduced from the West around the second century A.D. The folding stool of Korea was influenced by that of China. It is known from the records that the king used the folding stool from the Three Kingdom period. During the Koryo period, Chosun period and the modern period, the folding stool was used to show the authority of the king and nobleman. The folding stool was also used at outside places such as a hunting ground, a ceremonial walk, a battlefield, a garden etc. due to its portableness. Buddha worship policy of Koryo period supported the usage of the folding stool for shanding (禪定) by ascetics of Buddhist temple, or aristocrats. In a contemporary period, the folding stool is continuously produced and used as one kind of a folding chair due to its functionality, movability, storability and efficient space utilization. This research will serve as a momentum to investigate the origin and development of the East Asian seating furniture culture, and contribute to the further study and manufacturing of Korean seating furniture.

• The Research Journal of the Costume Culture
• /
• v.19 no.3
• /
• pp.460-472
• /
• 2011

This paper developed motifs through the use of images of masks with which the Korean innate consciousness of aesthetics is expressed. The motifs were applied to fashion items. This paper investigated the concept, origin and types of traditional masks through the existing literature. Using the computer graphic programs of Illustrator and Photoshop CS2, three basic motifs were set from the images of the nobleman, Bune of Hahoi Tal and Byeongsan Tal. Each motif was extended into two motifs by changing shape and color. For the basic motif design, this study sought to express contemporary images, suitably for each fashion item, while maintaining the basic shape of the masks and their traditional images. In addition, this study set the concept of the design so that could be accepted by various age groups. For the design of handkerchiefs, a rotating array, involving enlargement, reduction, repetition, and the gradation of motifs, as well as a diagonal symmetric array, and all-over patterns were developed. The T-shirt design created here was divided into a half-sleeve box type, a round neckline sleeveless type, a V-neckline close-fitting sleeveless type, and a V-neckline close-fitting cap sleeve type. For the design of necklaces, OLED or LED, which are considered as a future display type, was used. Additionally, the production of an entertainment styled new atmosphere is proposed.

• Journal of the Korean Society of Food Culture
• /
• v.28 no.3
• /
• pp.261-271
• /
• 2013

The purpose of this study was the development of traditional food recipes from local food contents related to the historical and cultural heritage in the representative long-lived area Damyang. The information on digging 'story' was collected through the region's representative local native journal, searching for related websites, analyzing old literatures, and interviewing traditional household; 'telling', the part of conveyance, was organized by reviewing the literatures, including historical condition, regional food materials, cuisine, region symbolism, etc. After nutritional analysis, the prepared, balanced, and healthy Korean food dishes using the traditional food contents were displayed. In Damyang, the story was extracted from Heuichoon Ryu (柳希春, 1543-1577) - figura of Damyang - and his collection, 'Miam's diary', and described about native food. The traditional history of many foods that were used mainly as rewarding during one's trouble, showing good faith, and delivering gratitude is recorded in Miam diary. A little effort has been made to express the classical scholar's clean and neat dining table which was the mixed Damyang's clean image and nobleman's straight integrity in the middle of the Choson Dynasty. Nutrition fact of 'Miam's table' was based on the Daily Reference Values of Koreans aged 65 or older.

• Journal of the Korean Institute of Rural Architecture
• /
• v.14 no.3
• /
• pp.121-128
• /
• 2012

In recent years, the number of returnfarmer is increasing in Korea, interlinked with baby boomer's retirement. One of the returnfarmer's serious problems is the decision making for his returnfarm place. This study intends to get information about a ideal returnfarm place by interpreting Jung-Hwan Lee's written in the Choseon Dynasty, and to use it for returnfarmer's decision making as a lesson in the present age. In the results, this study could finds 8 evaluation criteria in his book except his 4 requirements for a ideal place to live : Ji-ri(地理, geographic), Saeng-ri(生理, physiology), In-sim(人心, popular mind), and San-su(山水, landscape), which are (1) distance from seoul, (2)multi-habitation, (3)convenient transportation, (4)a natural disaster, (5)thief(public order), (6)refuge from a war & escaping from a troubled society, (7)feeling from a place, and (8)Jang-gi(poison coming from earth).

• The Research Journal of the Costume Culture
• /
• v.11 no.4
• /
• pp.541-550
• /
• 2003

This study is to research the costume of Korean envoys of the Chosun dynasty. The research results follow. The costume of three envoys including senior envoys and vice envoys is by, its different kinds, Gwandae, Jobok, Gongbok, and Pyongbok. According to the different purposes of occasions, these dresses were classified as the dress for ceremonies, the dress for banquets, and the dress for travel. For the ceremonial purpose, Gongbok and Jobok were mostly used. Gongbok was chosen when the envoys entered into the major cities or when they had ceremonies with the lord of the manor. The envoys wore Jobok for important ceremonies such as when receiving or presenting credentials or when entering into Chusima. For travel costume, Pyonbok of nobleman was used. The envoys wore Pyonbok during journey but they changed into Gongbok when they entered into the major cities such as Osaka or Kyoto in order to show their diplomatic etiquettes as representatives of the Chosun dynasty. And for the banquets, they wore Gongbok for official banquet and Pyongbok for private banquet. These findings of the different dress for different occasion indicate that there was a strict dress code according to the occasions and purposes.

• Journal of Fashion Business
• /
• v.24 no.5
• /
• pp.158-176
• /
• 2020

The purpose of this study was to examine the cultural diversity in terms of costumes by analyzing the costumes depicted in the early Kushan Dynasty relics, Tillya Tepe. As a research method, literature research and artifact analysis were conducted in parallel. The type of costume worn by the king (or priest) was in the type of a jacket and skirt, which was thought to be of Persian influence. The Greek god of Dionysos was wearing a costume with Danryong (團領) and narrow sleeves, a nomadic type of Central Asia. It could be seen that costumes were transformed into indigenous elements of the region. The shape of the helmet worn by the warrior was a Greek-Macedonian helmet. However, details were transformed into indigenous elements of the Kushan dynasty. The clothing of a nobleman riding a carriage was an element of dress that was observed in Chinese po(袍), and was an unusual element not found in nomadic peoples. There were goddesses wearing Greek robes like Aphrodite in Tillya Tepe's relics. On the other hand, there were goddesses who did not wear Greek chitons like the Greek goddess Athena. Instead, they wore high-waisted robes worn by the Orient goddesses. In addition, after Kushan occupied India, there were Indian elements believed to be expressed by accepting Indian culture. These elements were combined with regional orient elements of the Kushan dynasty, Central Asian elements, and Kushan's own elements. Thus cultural diversity emerged in the costumes depicted in Tillya Tepe artifacts.

• Journal of Convergence for Information Technology
• /
• v.7 no.3
• /
• pp.127-137
• /
• 2017

Sally Potter's movie, Orlando is a bold re-make of Virginia Woolf's classic novel, Orlando: A Biography, in which an English nobleman survives 400 years - as a man and then a woman. This paper focuses on a study of the film of Orlando in light of the feministic view. In Woolf's gender-bending, time-traveling novel, Orlando, Woolf probes the ideology of patriarchal society through an androgynous persona. Sally Potter's adroit revision of Woolf's novel not only duplicates Woolf's Orlando but it also catches Woolf's feminism by using cinematic expertise. The film is incredibly true to Woolf's spirit. The most explicit changes were structural so the storyline was simplified. Thus Orlando gives us a license to travel freely from a man to a woman. In short, Orlando is not about feminism but the unity and harmony of male and female.

• Journal of architectural history
• /
• v.6 no.3 s.13
• /
• pp.129-143
• /
• 1997

The perspective representation and its effect that appeared in the tombs and mural paintings of koguryo are summarized as follows: First, The inside structure of the tombs is likely to show the deepness effect, placing each function in the front and both sides centering around the mane pillars and creating the boundaries and the spaces that have various visibility between the inside and outside spaces of the structure just like a traditional Korean house shows. In addition, The deepness effect is emphasized by suggesting that the spaces are countinued with a storage attached behind the main house or by forming the level and deployment in a narrow space like the scene that a large array is looked out from the main house. Second, The deepness effect is expressed by making the form of ceiling turn to a vertical space of an ascending image, constructing it just as the lotus lamp ceiling of a wooden architecture or drawing it just like the imaginary heavenly world with the sun the moon and mythical fairies and animals spread in it. Thried, The perspective effect is disclosed by drawing the mural pictures in an equally set bird's-eye view without regard to the disfance proportion according to the conceptual visualization which is not a visual penetration, adopting the multiple view points and moving view points that are moving around as an important manner of seeing. Fourth, The deepness effect is emphasized through the scene of changing spaces when they are looked out far or looked into depending on a viewpoint of the daily life by forming the fromes of paintings that we made up with actual pillars, Du Gong, crossbeams or that are painted in most tombs. Fifth, The rich spatial senses are reflected by originating the characters of the three directions, level, deployment and ascending. An example which can support the conclusion of this study can be given here. that is, the construction ground plan of a dwelling house of a nobleman at the end of Koguryo as a remain which was excavated at Dongdae Ja in Jip An.

• Journal of architectural history
• /
• v.23 no.5
• /
• pp.7-22
• /
• 2014

It is identified that an initial person who built of 'Seoul Gyedong Modernized Hanok(former Min Hyeong-gi house)' used as 'Bukchon Culture Center' in present, was not Min Hyeong-gi, but his wife, Yu Jin-gyeong, and she built it when 8 years went on after his death(1879~1973), and the construction year was at the gate of Chuseok in 1921. Yu Jin-gyeong was Head Family's Eldest Daughter-in-law in family of Yeo Heung-min who was an influential person at the late Joseon Dynasty and was widow who had only son for 3 generations. And she built this house and moved to gain daughter and live futher grandchilds together in law in new nest. It is arranged that an annex surrounds with main building as the central figure. And this house emulates Yeonkeong-dang in backyard of the Changdeok Palace for 'preservation of main building' and Chim-bang-ga-toe applied on a bedroom in a palace is applied around nobleman family's the main room. It is rare case and expresses that a palace factor is borrowed. Yu Jin-gyeong's house is that a tradition Hanok is adjusted closely in city and central and basing mode as 'protective bedding' and building concept as 'a noble and protective architecture' is realized. So it has a character that development of Hangrang architecture is appeared and Head Family's Eldest Daughter-in-law widow of modern upper class had a special benefit. As well as, a meaning that it is experimental house based on tradition and is build of Hanok with housekeeping as the central figure for appear a form which has minimal Hangrang for housekeeping in yangban family of modern city, can be found.