• Journal of the Korean Society of Costume
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• v.51 no.3
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• pp.155-170
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• 2001

This study is about investigation of the historical value of Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖) and examination of the costumes of the Envoys from the Three Kingdoms drawn in the paintings above. Wanghoido(王會圖) is presumed to be painted around early 7th century. This is a colored picture on silk on which twenty-six Envoys from twenty-four Kingdoms are painted. Bungekipjodo(蕃客入朝圖) is presumed to be painted in the early 10th century. This is drawn on paper with only black brush line, no color. There are thirty-five Envoys from thirty-one Kingdoms in the painting. Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖) are the important materials which are useful to understand the original Liangjlkgongdo(梁職貢圖). From the records about interchange of the Envoys in the early 6th century, the characters and costumes painted in Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖), the copy of the original Liangjikgongdo(梁職貢圖), get the reality. The Envoys from Koguryo(高句麗), Paekche(百濟), and Shilla(新羅) painted in the two paintings above are all wearing Jangyu or Yu(장유 or 유; an upper garment), Go(袴:trousers), Kwanmo(冠帽:headdress), Dae(帶뿔:belt), and Hwa(靴:shoes). But they differ in some aspects. For example, the shape of the Kwanmo(冠帽), hair style and patterns on the costumes, etc.

• Korean Institute of Interior Design Journal
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• v.20 no.3
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• pp.22-32
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• 2011

The purpose of this study is on the application of the facade design of k-national university in deagu. The subjects of the study examined 75 buildings from the 117 university buildings in main campus. The analysis items is analyzed by several elements; flat and sloping roof, main entrance, design principle, style of architecture, finishing materials, and characteristics of design surveyed by analysis items. The results are as follows: In the 1950s, 2 subjects have shown conflicting characteristics except brick finishing materials. In he 1960s, flat make up 75% of a whole, centrality in main entrances occur, but have an asymmetrical, during this period vertical motif have been underlined by repetition of column, stone has application to main adminstration building. The buildings in the 1970s were so characteristics of modern architecture by painting and flat except main entrance at the center of facade. In the 1980s, position of main entrance have a corner of a wall, finishing materials of a wall were beginning to use stone, glass and metal. The buildings in the 1990s and 2000s are looking a three-dimensional composition by rhythm of superimposition and segmentation and all finishing materials of analysis items are in use.

• The Research Journal of the Costume Culture
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• v.9 no.5
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• pp.712-722
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• 2001

The purpose of this study is to classify of the Hair ornaments in old tombs of the Three Kingdom States. Hair ornaments was divided into Combs, Rod-like hairpins, Chae[;釵], Boyo[;步搖] Combs were 2 type in according to the tooth's space, wide-tooth comb[;梳] and fine-tooth comb(;比). The general name of two type was called Jeul(;櫛). Combs were excavated from the only ancient Silla tombs. Rod-like hairpins were called Gha(叉) or Jam(:簪). They were found in most of the old tombs in Goauryeo, Baekje, ancient Silla tombs. The style was L-type and embellished circular head-type. Chae(;釵) was understand Cha(:叉) that had two tongs. Chae(:釵) was generally U-type and rarely hairtweezers -type. Jakchae(;爵釵) was understand distinctive Chae(;釵) hanged with phoenix. This type was excavated from the only Baekje tombs of King of Muryeong. Boyo(;步搖) was originally a hair decoration of the northern nomadic tribes which had been introduced to the Wijin period. Boyo gained its popularity by the women in Dang Dynasty, hair ornaments were considered indicators of status and wealth. Boyo(;步搖) hair accessory features of which are suspended from a elaborate hairpin structure. Such pieces were designed to sway as their wearer walked. The bequest was not found, but we catch the Boyo(; 步搖) that was women'head decoration in painting of old tombs in Goguryeo.

• Journal of the Korean housing association
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• v.14 no.5
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• pp.19-26
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• 2003

The purpose of this paper is to examine and analyse the features of plan type and space composition of the Siheyuan(courtyard house) which is one of the most remarkable types of the traditional dwellings in China. With the passage of time this house developed into one of the chinese house style. The technique of Siheyuan's spatial composition goes so far back in the New Stone Age. The relics of this are the colony layout, the system of four sides, the layout type of a palace, the picture of lacquered ware, the pictured brick, the earthenware of house type, the cave painting, the paintings of painters and others. The fundamental spatial conception of it arranges one or more courtyards to compose, sometimes in a very complex way, a general walled compound. The main longitudinal axis is mainly north-south, but the chief buildings, or halls are always placed transversely to it. These rectangular buildings mayor may not connect, by means of open galleries variously planned, with rows of smaller buildings flanking the courtyards on both sides. On this system, enlargement is never carried out by adding to height, but by continual duplication of existing units, and growth in breadth or preferably depth. The need for family security is thought to have led to the development of this rectangular houses with walls mainly blank on the outside, defensible entrances, and public service facilities in the center of the houses.

• Korean Institute of Interior Design Journal
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• no.41
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• pp.11-18
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• 2003

This study was carried out to find the cases of change in the Anglican Church including its rectory in Onsuri, Gangwha island, which was built in Korean traditional architecture style. The materials used for the study were published books, old photos taken before the change, drawings, and field survey. The result are as followings. 1) Painting concealed natural wooden grain should be removed as well as carpet on the wooden floor. The way of ceiling finishing is to be restored as traditional way. 2) Refer to the rectory, it needs to be restored totally, since it has been changed many times through partial renovation. It lacks unification of design in entire elevation, windows and door. The practical spaces such as indoor flush toilet and boiler room are desirable not to be revealed or designed in harmony with other spaces. 3) Stript flooring in the rectory are to be restored to frame flooring, room finishing including vinyl flooring, vinyl wall paper and moulding along the cornice to the traditional paper finish. Lattice patterns of windows and doors are recommended to be restored according to the traditional design.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.121-135
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• 2003

This paper is about the dress styles during the 16th century of the Chosun dynasty, just before the Japanese Invasion of Korea in 1592, through painting-Kiyeonghoido. In the Chosun period, dress styles played an important role in representing the differences in social status. The most remarkable signs of social standing are the hair ornaments. Officials in ranks, noksas, and seoris are wearing a same, a yugakpyeongjeongeon and a mugakpyeongjeongeon respectively. The head ornament for musicians in high ranks is a samo, and, for those in low ranks a hood or a heuklip. Accordingly, head ornaments were important articles among apparels, and especially ripja was an article that sensitively reflected the contemporary fashion. Such a trend also influenced the common people's styles of dress. Thus, the style of the heuklip worn by the chamberlain in Kiyeonghoido resembled of yangban's. Actual official uniforms also diverged from the specifications for them. Sangboks were red for both dangsanggwans and danghagwans, but their ranks were marked by the material of their dress rather than by the breast plates. Dress styles change over time as the society members influence and are influenced by each other. Therefore, owing to the social characteristics of a hierarchical society, dress styles are distinctive according to the wearers' social standings and roles, and various dress styles emerge that deviate from regulations. The significance of the present paper is to review the diversity of the dress styles during the 16th century of the Chosun dynasty.

• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.162-170
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• 2016

Xavier Dolan delves into maternal instinct and sexual identity and the attempt and experiment of his movies are not difficult to understand and not unfamiliar. He communicates with audience through pastiche and self-reflexivity, rather than disassembling and destruction of style and form of existing films. Pastiche is the intertextuality between familiar genres such as film, poem, fashion, music, painting, etc. His films shows the characteristics of postmodernism, which include genre over, de-subjectivity, interest in public culture, and representation of nostalgia. This study recognizes anew the present of postmodernism gradually going out of fashion and analyzes the characteristics of postmodernism and repeated motif in his movies. This study also analyzes Xavier Dolan's interest in social minority and allegorian characteristics through characters appearing in his movies.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.158-171
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• 2008

The purpose of the study was to examine how changes of women's sexual identity and gender role were expressed in designs of dance costumes by analyzing costumes used in creative dance works. Related articles, dance magazines, Internet information and dance costumes were used for the analysis of various performance cases to express persona and animus of a woman. The results of the study were as follows: 1. As a woman's role, persona, has recently changed into active propensity, dance directors have come to prefer bold and daring image of female dancer to strongly express animus, the masculine inclination of a woman. 2. Female dancers' costumes were frequently associated with daring body exposure such as body painting on half-naked body, to reflect the above and a number of female dancers dressed daringly in masculine style trom head to toe. Also, pants or hot pants instead of skirt were frequently used as dance costumes to symbolize animus. In addition, colors in dance costumes became vivid and bold in comparison to the simple and soft colors used in the past.

• Journal of architectural history
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• v.29 no.2
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• pp.39-52
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• 2020

Seonjeong-jeon, the semi-great hall in Changdeok Palace, was constructed in a highly formal and conservative style and accommodated official ceremonies. However, the contemporary modification of the building has distorted or eliminated features including the two side doors on the front, the floor coverings, and the throne base (Jwa-tap) that consisted the most significant part of the throne. Seonjeong-jeon originally had three doors that stood between each pair of columns on the front side, respectively. The courtiers accessed the building through the side doors, while the central door was exclusively designated for the king. However, the renovation in 1999 ignored the political context of the architectural form of the building and changed the side doors into windows, damaging the traditional structure inherited from the early Joseon Dynasty. Although the building currently has traditional wooden floor structure (Woomul-maru), it was originally covered with square brick tiles (Bang-jeon) before the Japanese occupation, following the customs of early Joseon Dynasty. The throne was placed to the north of the central door and consisted of the throne base and a decorative roof (Dang-ga). A canvas (Jang-ja), which featured the royal symbolic painting of Sun, Moon, and Five Peaks, was also installed between the two columns that connected the base and the roof. Nevertheless, only the columns and the blank canvas remain nowadays after the removal of the base.

• Journal of KIISE:Computing Practices and Letters
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• v.16 no.3
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• pp.366-370
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• 2010

This paper presents an automatic Oriental ink-rendering technique that recreates the artistic style of Oriental paintings from a single image. In Oriental paintings are characterized by strokes with various thickness and disordered dispersion. In this study, a stroke drawing method was developed based on the canny edge detector and radial curvature that are suitable for lines with varied thickness even along a single stroke. A dispersion-shading method was likewise developed by applying a set of iterated dual-filtering, and intensity exaggeration methods. The dispersion-shading method is designed to increase the local shade details, to decrease the global shade. Unlike the existing watercolor-rendering and abstraction system the proposed dispersion-shading method achieves disordered shade details rather than simplification.