• 한국식생활문화학회지
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• 제6권3호
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• pp.265-274
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• 1991

To analyze wedding feast dishes of king and royal prince of Chosun Dynasty (1866, 1906), the author studied historic book Gare Dogam Euigwae, in which the wedding feast dishes of King and Prince in Chosun Dynasty were described. The results obtained from the study were as follows, 1. Dish materials used for wedding ceremony in the year of 1866 was same as that of the year 1749. 2. Dish materials used for wedding ceremony in the year of 1906 was quit different that of the year 1749. 3. Dish materials used for main table(연상(宴床)), second table(좌협상(左挾床)), third table(우협상(右挾床)), and fourth table(면협상(面挾床)) was the same as that of from the year 1651 till 1906. 4. Dish materials used for a small round table(초미(初味)), another table(이미(二味)), and the other table(삼미(三味)) was the same as that of from the year 1749 till 1906. 5. A large boiled beef(대선(大膳)) and a small boiled beef(소선(小膳)) were in the year 1819 and 1906.

• 패션비즈니스
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• 제21권6호
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• pp.47-65
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• 2017

This study is intended to compare an actual wedding dress being made completely through 3D software, and compare it with an actual dress of a real model by using collective tools for comparative analysis. The method of the study was conducted via a literature review along with the production of the dresses. In the production, two wedding dresses for the small wedding ceremony were designed. Each of the design was made into both 3D and an actual garment. The results are as follows. First, the 3D whole body scanner reflects the measure of the exact human body size, however there were some difficulties in matching what the customer wanted, because the difference of the skin color and the hair style. Second, the pattern of the dress is much more easily altered than it was in the real production. Third, the silhouette of the virtual and the actual person with the dress was nearly the same. Fourth, textile tool was much more convenient because of the use of real-time rendering on the virtual dresses. Lastly, the lace and biz decoration were flat, and the luster was duller than in reality. Prospectively, the consumer will decide their own design of variety through the use of the avatar without wearing the actual dresses, and they would demand what the another one desired, different from the presented ones by making the corrections by themselves. Through this process, the consumer would be actively participating in the design, a step which would finally lead to the two way designing rather than the one way design of present times.

• 복식
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• 제58권3호
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• pp.19-33
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• 2008

Hair style of royal ladies in the 19th century according to the wedding record of King Heon-jong and Lady Sunhwagung is studied in this paper and summarized as follows: First, Saengmeori was a bridal hair style for the wedding night in Gyeonmagi(jacket) and Daeranchima(Skirt with gold trimming). It was a typical girls' hair style before the coming-of-age ceremony. It was composed of Saengmeoridari(wig), Seockunghwang, Jogduri(Coronet decorated with Jewellery), Saengdaeng-gi(hair ribbon) trimmed pearls, and jade disk trimmed pearls. Second, Garaemeori(double bun hair style) was the hair style with Wonsam when the chosen bride went to Byeol-Gung, a special palace for the bridal. It was composed of Gareachi(wig) and Cheopji(small wig) with the frontal hair ornament, jogduri, and Saidang-gi(hair ribbon). Third, Jojimmeori(single bun hair style) is a basic hair style for the madame. It was composed of jojimmeorichilbo, jogduri, jojimmeoridari(wig), and Cheopji with a frontal hair ornament. Fourth, Keunmeori is the second most important hair style for the court ceremony. It was composed of Eoyeomjogduri, Eoyeomdari(wig), Cheopji with a frontal hair ornament, Keunmeoridari(wig), and Keunmeorichilbo. Fifth, Susik, the most important hair style for the court ceremony, is the hair style for ceremonies including the day of becoming the formal queen, the first greeting day to the King's family. It was composed of 4 kinds of wigs and Susik-chilbo.

• 한국식생활문화학회지
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• 제5권1호
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• pp.43-58
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• 1990

To analyze wedding feast dishes of royal prince (1651, 1696) of Choson Dynasty, studied Gare Dogam Euigwae. Historic book 'Gare Dogam Euigwae' discribed wedding feast dishes of king‘s Choson Dynasty. The results obtained from this study are as follows. Dishes were arranged in four kinds of table, the first one called the main table, the second the right side table, the third the left side table, the fourth the confronting side table. Dishes of main table were oil and honey pastry, and fruits (pine nuts, orange, dried persimmon, torreya nuts, dried chestnut, jujube). Dishes of the second table and the third table were oil and honey pastry, and small cake made of honey and rice with patterns pressed in it. Dishes of the fourth table were cooked vegetable (wild ginseng, platy-codon, radish, white gourd melon, ginger), dried slices of meat seasoned with spices (abalone, octopus, shark, pheasant), cooked meat (wild goose, fowl, egg, pheasant, abalone), and fried fish (roe deer, fish, duck, pigeon, sparrow). The main table (同牢大宴床) and the second table (右挾床) stand as a symbol for integrity. The third table (左挾床) symbolize longerity. The fourth table (面挾床) symbolize bearing many young and connubial felicity.

• 복식
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• 제62권2호
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• pp.40-54
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• 2012

The significance of this research lies in the analysis of that appears in the comedy . It also aims to propose conceptual and analytical costume designs that emphasize the formal aspects of play by reflecting on the comical elements simultaneously. , the subject of this study, was played on November 12, 2009 at the Small Theater (Dalohreum Theater) in the National Theater as a celebration of the 40th anniversary of Suwon Women's College. The costumes were designed by this researcher and were produced in collaboration with the Creative Performances Research Institute (Suwon Women's College). The comic elements were categorized into deconstruction, deviation and unexpectedness according to previous studies on the humorous nature of comedy, and their aesthetic meanings were applied to the costumes. The designs that reflect the comic elements are as follows. The costume design reflecting deconstruction is a way that disassembles and recombines constructive aspects of clothing. It consists of seam margins outside or just left disassembled without sewing, dismantling the boundary of outerwear and underwear. The costume design reflects deviation because reformed shapes of collars, the variation of length and closure of skirts deviate from the traditional style. These are designed by distorting traditional designs with deviation and transcend of tradition. The costume designs the reflect unexpectedness integrates both tradition and the contemporary, and use materials of diversity and heterogeneity, and these are composed of external formats the result from incongruity. Because comic elements are metaphysical concepts that carry meanings that are difficult to define according to the country and period, it is required to analyze, organize and utilize their characteristics and meanings of each period. Since this study analyzed the comical elements of a play and applied them to costume design, it is hoped that a follow-up study of analytical costume design is be done, and that more diverse and more creative costume designs are in the next generation.

• 인문언어
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• 제8집
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• pp.291-313
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• 2006

Previously, studies concerning the Russian dialects have been mainly focused on northern, central, and southern dialects limited to western Russia of Ural Mountains. On the contrary, the Siberian and Far-eastern dialects have been completely disregarded to the main stream of the Russian dialectology. As a result of a poll concerning this idea, the majority has answered that there is no dialect in Siberian and Far-east regions. Though the reasons for the outcome of the poll could vary, it could not be simply accepted that there is no dialect in such vast regions. Thus, a survey has took place to examine the existence of dialects in the regions of Siberia and Far-east. The first phase of the survey inquired the residents of the regions including Siberia and Far-east to respond to questions regarding 83 vocabularies on wedding in contrast to the regions covering western Ural and Moscow. The 23 informants were residents of the concerned regions who have come to visit Pushkin National Institute of Russian Language and, others, Korea. The questionnaires used in this survey were partly obtained from the questionnaires originated by the Language Institute of St. Petersburg National University. Although the limited range of regions and a small number of respondents who partook in this survey could raise some issues on the table, it is relevant to understand that this study would open up the path for the development of studies concerning regional dialects in the future.

• 한국식생활문화학회지
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• 제3권1호
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• pp.29-49
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• 1988

Among the 160 documentes on Food menu in the Royal palace of Chosun Dynasty, 137 are cherished by the Academy of Korean study (old Chang Su Gack) and 23 by privates. We can find the other 2 documentes in biliography but they do not exist now. Most of them were written in Korean in the period between 1863 and 1937. Through them, we can learn how to set a meal table for people who served on wedding feast, the birth of Royal family and the national events, and several small feasts and ancestrial rites of Royal palace. And the food menu in them are based on Korean food.

• 한국의상디자인학회지
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• 제7권2호
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• pp.61-74
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• 2005

Wonsam, a type of korean women's gown in Choseon Dynasty, was used as a small ceremonial costume for queens, crown princesses and princesses and as a grand ceremonial costume for royal concubines and wives of high rank officials. It was also worn as a wedding dress for commoners. In the families of illustrious officials, it was also used as burial accessories or garments for the dead. In this context, Wonsam is a formal dress for the people's most important four ceremonies of coming-of-age, marriage, funeral, and ancestor worship. It is worth emphasizing the costume since it was widely and importantly used by all ranks of women, from royal families to commoners. Through the Wonsam of An-dong Kim Clan's, we can see what the society was like at the end of Choseon Dynasty. First, a status system that strictly divided costumes for each class, was, in many parts, broken down. Second, the highly wrought patterns and texture of fabrics of the Wonsam reveal that it was granted from Court, or, if woven by the Kim family, it is considered to be produced by the Court's craftsman or through technical transfer, considering that the weaving skills used are as good as those in Courts. Third, regarding the precise needlework that is uncomparable to textiles used by other illustrious officials families, the Wonsam is considered to be granted from Court or, produced through the needlework skills that were handed down from needlewomen in Courts. The Wonsam of An-dong Kim Clan's has noble beauty in it, with outstanding weaving skills, fabrics, needlework and shape. Thus, it is no exaggeration to say that it has those qualities to be the standard costume that inherits the tradition of Korean people.

• 한국의류학회지
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• 제19권1호
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• pp.71-79
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• 1995

Journal of the Korean Society of Clothing and Textiles Vol. 19, No. 1 (199i) p. 71~79 The authors study on the traditional textile production and the formal dress through the field research concerning the folk attitude toward dress style around the Mt. Kumo area. In this area, people produced and wove hemp, cotton, and silk except ramie. Because of poor production of raw materials, they produced textiles only for self-sufficiency. Every household dealt with dyeing on a small scale. In the past, people dyed cloth natually using plants as material. Natural dyeing, however, gradually changed into chemical one since the Japanese rule. The formal dresses, which people wore on particular occasions such as the hundredth day after child's brith, the first birthday, and traditional holidays, were very meager due to poor living standards. People could not see the formal dresses with full decoration. Bride and bridegroom were the village.owned wedding dresses, and if they could not afford to, they simply put cloth on to remember the occasion. People around the Mt. Kumo area, however, provided fully-decorated shroud and ritual robes to the level of other better-off areas. It seemed to be the result of influence of deep-rooted Confucianism in Gyungbuk province. This Phenomenon could be found in the folk dress style in other regions as well as the Mt. Kumo area in Gyungbuk province.

• 유통과학연구
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• 제10권1호
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• pp.11-22
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• 2012

The traditional market in the nation was forced to decrease greatly users as well as sales because of opening of all of the markets, Internet shopping mall, home shopping and other new types of marketing businesses to lose market functions remarkably. Therefore, the Agency for Traditional Market Administration of Small & Medium Business Administration made efforts to develop traditional market, for instance, modernization of the facilities to improve physical environment, and improvement of each shop by using VMD, and so on. The purpose of the study was to examine efficiency of VMD shops for development of traditional market by the Agency for Traditional Market Administration and effects of VMD upon sales of each shop, and to help establish VMD strategies for customer satisfactions as well as visual environment of traditional market. The author visited five shops at Busan Jin Market, special market of articles for wedding ceremony that joined VMD shop guide of traditional market, and taught VMD on-the-spot and investigated it. Questionnaire of Agency for Traditional Market Administration was used to interview shop owners, shopkeepers and consumers, etc and to examine factors of changes of sales and customers' satisfactions before and after VMD. The purpose of the study was to investigate effects and satisfactions of increase of the sales of VMD shop guide that the government promoted to develop traditional market so far. Therefore, the author investigated VMD presentation, increase of the sales before and after VMD presentation, increase of number of customers, and satisfactions, etc of Korean clothes shops that joined improvement of VMD shop guide of traditional market of the government in 2010. The author investigated effects of the sales, increase of customers and satisfactions, etc by case study and empirical analysis, and she presented user-oriented VMD presentation techniques of traditional market and suggested improvement. After applying VMD, the shops could increase sales more than 20 percent in average, and satisfaction of VMD presentation was more than 88 points or more to be very much high. This study suggested VMD strategies and presentation of traditional market to give consumers affirmative visual images and to develop traditional market.