• Conservation Science in Museum
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• v.27
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• pp.39-56
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• 2022

The purpose of this project was to improve the stability of a pair of leather socks for use on snowy days in the collection of the National Museum of Korea (Namsan1567) by conducting conservation treatment and restoring the socks to their original form for use in research and exhibition. Leather socks are referred to in ancient documents with names combining the word "mal" for socks with a term indicating their material (e.g., pimal, meaning leather socks; nokpimal, meaning deer leather socks; jangpimal, meaning roe deer leather socks, or lipimal, meaning racoon dog leather socks) and are mentioned mostly in connection with Jeju Island. Related documents include the Seungjeongwon ilgi (Daily Record of the Grand Secretariat), Injaeilnok (Diary of Injae Jo Geukseon), and Hamel's Journal and a Description of the Kingdom of Joseon. Extant examples of ancient leather socks display the same form as beoseon (traditional Korean socks) and are made of either leather or a combination of leather and fabric. It is likely that such leather socks were worn on Jeju Island to protect the feet from the cold. A condition survey of the leather socks was first conducted to establish a plan for their conservation treatment. Since the socks were in rather poor condition, it was decided to identify their original form through an investigation of relics and pertinent previous studies. The socks were cleaned in consideration of results of the condition survey, and the missing parts around the necks of the socks were reinforced in a reversible manner using counting stitches with cloth dyed to match the original color. Since the bottoms of the socks had lost much of their original form due to deterioration and disintegration in the leather, supports were made and inserted inside the socks to help retain their shape. Through these processes, the structure and characteristics of the socks and the techniques used in their production could be analyzed, their condition was stabilized, and their original form was recovered.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.202-215
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• 2011

The wide range of understanding on form, function and style are very important in design practice. Because any design can't be existed without form and function and, also, every design can be embodied by the style. From this point of view, the new interpretation and their relations on form, function and style are studied in this paper. First of all, 1-In Introduction, a few issues are suggested to the purpose and requirement with explaining the background of the paper. 2-Design Form; original form, hand-made form, standard form and expressive form are researched. 3-Design Function; original function. traditional function, absolute function and relative function are studied. 4-Design Style; survival style, folk style, simple style and fusion style are searched. Finally, 5-In Conclusion, the approach method is expressed on form, function and style, and their relations are discussed.

• Journal of Oriental Neuropsychiatry
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• v.28 no.3
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• pp.207-216
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• 2017

Objectives: To simplify the mindfulness scale and to ensure reliability and validity of the scale. Methods: To develop scale items using the original scale and to identify factor structure of the scale, exploratory factor analysis was conducted based on results of factor analysis, the short-form 5-factor mindfulness scale item was selected. Internal consistency coefficient was calculated and confirmatory factor analysis was conducted to verify reliability of the short-form scale. Finally, to verify validity of the abbreviated scale, we conducted correlation analysis with the abbreviated scale and the mindfulness scale (FFMQ). Results: As with the original scales, scaled scales were composed of 5 factors and consisted of 15 items in total. Factor analysis revealed factor loadings were adequate and reliability and validity were secured. Conclusions: It provided that mindfulness shortening scale validation can be used more simply to measure mindfulness in the clinical scene.

• Journal of the Korean Society of Costume
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• v.21
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• pp.207-218
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• 1993

The desire of our contempories who wish to recover humanities fading away and get back recover humanities fading away and get back to the nature is emerging as a main theme of the fashion today the decade of facing 21st century. The prevalence of naturalness-ecology ru-ral peasant look-and ethnic look shows the tendency mentioned above. Kenzo Takada' works which exhibit this naturalness and ethnic look were picked and investigated. The objective of this research is to study the beauty of form and internal and investi-gate in what form the naturaless and Ethnic look in Kenzo's work. The result were as followings : <1> Draped form are mainly used as form and they are made neglecting the body line by straight-cut and provide the wearer ease and freedom of movements <2> As for the color fantastic original colors (red, blue, etc) and natural colors are used. And Strong color contrast is seen. In ethnic look original colors(red, blue, etc.) natural colors and ethnic colors are used. <3> As for the fabric Cotton neat skilk and wool etc are used mainly and use of such natural fibers represents the return to the natural well. <4> As for ornament natural things-straw hat flower feather pebble, shell-are used and exhibit natural feelings strongly. For the ethnic look ornaments representing each country's ethnic atmos-phere by hat scarf and neckcloth made of natural fibers. <5> As for naturalness Flower deer butter-fly leopard and plant etc, are used as motif. As for ethnic look flower geometric motif are used.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.147-153
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• 2021

Baekje patterned Pyojihwajomoonkeum is a fabric that expresses Baekje's unique culture possessed by Shosoin(正倉院) in Japan. Reflecting the close exchange relationship with the Chinese Southern Dynasties, these patterns are suitable as good examples to grasp the forms and atmosphere that prevailed during that era. Through the analysis of many pieces, it has been identified that the patterns were unique to Baekje. With an aim to ascertain and restore the original form of Pyojihwajomoonkeum, designs were proposed utilizing Pyojihwajomoonkeum as a form of storyteller clothing that fits the modern sense. Fabric was designed by continuously repeating the colors and patterns of Pyojihwajomoonkeum upward, downward, leftward, and rightward and woven with a Jacquard loom. The fabric woven was dried, processed, and used to make a total of four pieces of storyteller clothing consisting of men's wear, comprising a jeogori and pants, and women's wear comprising a jeogori and skirt. The top jacket was long enough that the hip is covered. It has wide sleeves and linear decorations were attached to the collar, lower edge of sleeve, and bottom hem. The pants are wide legged, the top is wide, and the bottom hem had linear decorations attached. What is the most important when using the original form of a traditional culture is processing the raw materials following cultural traditions to create value. Costumes of an era are the combination of individual elements and represent the culture of that era. Therefore, a consideration of the origin and prevailing ideas of the era must be considered. It is anticipated that this paper will serve as a basis for leading such a process, followed by studies on the utilization of the original form of Baekje culture.

• Journal of architectural history
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• v.18 no.6
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• pp.103-126
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• 2009

This study aims to discover historical trends and change of form of all stupas in India with observation of field study that is as direct as possible, by classifying, analyzing, and synthesizing the stupas. Study of Indian stupa in Korea has a number of shortcomings since only introductory partial approach has been made in order to seek the origin of Korean pagoda. This study also aims to correct errors of stupa terminology in Chinese character committed by misinterpretation of Hindi language which was established by precedent Japanese scholars several decades ago. Piled-up stupas were totally destroyed by pagans, therefore their remains tell us only of structure, material, sizeand disposition. However remains of carved stone at torana and drum give us clues as to the original form of stupa and worshipping activity, as well as change to a more luxurious form. Many rock cave stupas of India show us both simple forms matching the ascetic age of early Buddhism and luxurious changes in Mahayanan era introducing us to statues of Buddha. Indians recovered the spheric form of 'anda,' a Hindi term meaning cosmic egg, from the hemispheric form of the piled-up stupa. Therefore we might discard the erratic term of 'bokbal', which means an upset vessel. Railings and parasols became main factors of stupa design. Carved railings around stupa became a sign of divinity. Serious worshipping activity made drums long or high and created multi-embossed stripes. Bases of circular drums of some cave stupas changed their shapes to rectangular or octagonal. Single parasols became multiparasols of affluent flowerlike curved stems on carved stupa. Multistoried, elongated and high parasols of Gandhara stupas are closely related to such factors as diverse changes of form in Indian subcontinent. Four-sided torana gate and ayaka column of the circular form of original stupas suggest the rectangular form of subsequent East Asian pagoda, and higher and wider base of Indian stupas became the origin of East Asian rectangular pagoda.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.26-47
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• 2010

When the term conservation is used with regard to excavated features, it means not only conservation but also restoration. Restoring the features here does not imply restoring their original form but restoring their form at the moment of excavation. That means, the conservation of excavated features includes the concept of both reparation and restoration. The way of conserving excavated features can be largely categorized into on-site conservation and transfer conservation. On-site conservation means to conserve excavated features as they were at the excavation site. It can be further categorized into soil-covered on-site conservation, in which excavated features are covered with soil to prevent them from being damaged, and exposed on-site conservation in which the features were conserved as they were exposed. Transfer conservation is operated on the premise that excavated features are transferred to another place. It can be further categorized into original form transfer, transcribing transfer, reproduction transfer, and dismantlement transfer. Original form transfer refers to the method of moving the original forms of excavated features to another place. Transcribing transfer refers to moving some of the surfaces of excavated features to another place. Reproduction transfer refers to restoring the forms of excavated features in another place after copying the forms of excavated features at the excavation site. Dismantlement transfer refers to the method of restoring excavated features in a place other than the excavation site in the reverse order of dismantlement after dismantling the features at the excavation site. The most fundamental issue regarding conserving excavated features is the conservation of their original forms. However, the conservation of excavated features tends to be decided depending on a variety of conditions such as society, economy, culture, and local situations. In order to conserve excavated features more effectively, more detailed and specialized conservation methods should be created. Furthermore, continuing research is needed to find the most effective way of conserving them through exchange with other neighboring academic fields and scientific technology.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.8
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• pp.89-100
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• 2019

The purpose of this study is to critically review the repair works of Seokguram architecture and to search for its original form and space. Seokguram's architectural form has been transformed throughout three repair works. The first transformation occurred during the repair work of the Colonial Government in 1913-1915, and the second occurred during the repair work of the Colonial Government in 1920-1923. The repair work done by the Korean Government in 1961-1964 also caused a severe change in the architectural form and space of Seokguram architecture. The more the repair work was added to Seokguram, the more its original form flew away like a mirage. Through the three repair works, the spatial composition of Seokguram changed in the following directions: from ((front chamber + passageway) + main chamber) to (front chamber + (passageway + main chamber)) through the second repair work, from (front chamber + (passageway + main chamber)) to (front chamber + passageway + main chamber) through the last repair work. Although the compositional space hierarchy of Seokguram was maintained during the first repair work, the architectural form based on the dry method was changed to the form based on the wet method. The Korean government's repair work was a tragedy for the 'Seokguram conservation project' that the people who led the conservation process misunderstood the architectural nature of Seokguram.

• Journal of the Ergonomics Society of Korea
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• v.19 no.3
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• pp.77-92
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• 2000

This study is about the satisfaction and the usage of users' manual for mobile phones with multi-functions. The users' manual is redesigned by including ergonomic factors verified through survey. This paper is to propose a redesigned users' manual which is more readable and understandable than original users' manuals. The degree of improvement is measured by the usability evaluation. There are significant differences(p<0.05) in the number of functional description original users' manuals. And the degree of users' satisfaction with the description of Crystal Display) are significant diffenences among the original users' manuals. In the as of description, the significant differences are partially found. The users' manual is re arranging the explanations of functions compactly in a table form, and reducing the cl has also $3cm^*2cm$ LCD figures to facilitate the understanding. The usability evaluation users' satisfaction and understanding for the redesigned users' manual are higher than original users' manuals.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.38-49
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• 2016

This study is based on the assumption that the documentations, and poetry form a basis for undertone of the location and original landscape explored by inference and enjoyment aspects; the significance has been inferred by investigating the original location, relocated location, and the original landscape of Imsil Manchwi Pavilion. The results of the attempted research for locational value, and preservation of the original landscape before and after the relocation of Imsil Manchwi Pavilion is as follows. Firstly, Manchwi, meaning evergreen, was made a pseudonym of KimWi. The name reflects an image two evergreen pine trees facing one another. The poetry form presents the eternal fidelity. In addition, considering the symbolic plant and the meaning of evergreen pine trees specified on the pavilion, the name is derived from the fidelity, longevity of the family, vitality and so on. Secondly, Manchwi Pavilion was founded in the location, known as the snakehead form, that represents the vitality. Snake faces the swallow form over the river, therefore, it connotes the wishes for fidelity and prosperity of the family. Manchwi Pavillion is prostrate pheasant form which is suitable for those who look for a hiding place or place for their study. It is noticeable that the location infers and hand down the efforts on succession for prosperity of the family and the study. Thirdly, it is estimated that Manchwi Pavilion was established between 1572 and 1582; and the relocation was conducted in the late 1880s. Fourthly, although eternal fidelity was presented in Manchwi Pavillion with locational language, the Manchwi Pavillion after its relocation next to KimWi's grave implies the tendency of the changed value: the commemoration of the ancestors, and prosperity of the family. Fifthly, after the relocation of the pavilion, the proportion of the rooms with Korean heating system, so-called'Ondol'has been increased for its best use in all seasons. And its veranda for extension and its verse couplet implies that this connote the original meaning and pursuit of the study. Sixthly, the way that the poetry portrays pine trees, pond, plants, valleys, and streams shows the aspect of enjoyment of the landscapes and the meaning of fidelity, pure mind, free and easy life, self-examination, the frailty of human life. Lastly, despite the difference between tenth poetic language of three Sipyoung and Wonwoon Sipyeong, exploring the landscape based on the analysis on the poetry can be a basis on the maintenance and restoration of the original landscape as the inspiration and the meaning show that Wonwoon Sipyeong maintains the aspect of the author enjoying original landscape.