• Fashion & Textile Research Journal
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• v.12 no.2
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• pp.156-161
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• 2010

To improve the standard of living of its citizens, local festivals is located in one axis of the new culture. These symptoms shows that there is increasing awareness of traditional culture such as Hanryu. The purpose of this study is to develope the presentative Dress of Andong International Maskdance Festival to stimulate curiosity and participate easily. 24 villages in Andong were present to represent appropriate Dress of Maskdance Festival which have been announced through the fashion show. The characteristics of the maskdance dress which presented in this study has the purpose of making the specialties of each village to tourism resources. Characteristics of the maskdance dress which designed to blend on the mask was as following. (1) Maskdance dress should shown well and must have strong durability of strenuous exercise in maskdance (2) Maskdance dress should be able to get the sympathy of the spectators. (3) Maskdance dress should be sympathetic as modern costumes. (4) Aesthetics as custumes and requirements as product must be met. (5) Acceptance of Andong region's traditional beauty is required. (6) Maskdance dress is likely to require long-term use. (7) Maskdance dress must be able to accommodate a variety of body conditions. Through customer satisfaction survey of 158 spectators and 48 members of fashion show, the relevance of masks and costumes, aesthetic and motility of costumes, commercialization potential, especially costume' motility and functional fitness of clothing sizes was highly evaluated. So maskdance dress or stage costumes as long-term development is likely to be considered. And continued research is needed.

• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.687-696
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• 2006

This study aims at analyzing the silhouette, dress patterns and detail of Empire Era(1789-1825), and making use of this results for the modern stage costume construction. The dresses of Empire era were divided into X and H style. The results revealed that the bust girth of X style group was bigger than that of H style group. Such patterns as high waistline, puff sleeve, train, etc. which appeared during the peak time of Empire style period were more remarkable for H style group. This obviously indicated that more epical characteristics were observed for H style group than for X style group. Similarly to silhouette analysis, based on the results from cluster analysis conducted to put similar groups together, two groups were formed - a visually differentiated and complex group and a simple group in the absence of detail. Most dress details from Empire period had simple embellishments. Comparison of the average size of the patterns between two groups indicated that waist front length of H style was shorter than that of X style. Front interscye was even greater than back width for both groups. Such trend was quite different from today's pattern in which back width is larger than front width based on body measurements. Preference for big breast during the period was reflected on dress patterns and the side length of front side goes across the back much further for bodice patterns. Two representatives were selected and reproduced using materials similar to those of real dresses of Empire style, following two times fit test.

• Journal of Information Technology Applications and Management
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• v.27 no.6
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• pp.1-14
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• 2020

Since the birth of animation, the United States has created many classic characters. For example, Mickey Mouse and Minnie, Tom and Jerry, Lion King, and Nemo, which are imaged with animal images, include Snow White, Bell, Mulan, and Aladdin. In addition, there are villain characters designed with strong personality and personality design, such as Snow White's stepmother Grimheel, Ursula, Bad Girl Crew El Radville, Scar, Captain Hook, and so on. These animation characters have been remembered for a long time with stories in people's minds, and have also brought laughter and emotion to people all over the world, which has brought a lot of business value to animation companies. Recently, the villain of American animation works is becoming more and more suited to the taste of the audience. The villain is not a symbolic image of the brutality we have seen before. They are not only visual images with rich and diverse personalities, but are also designed to suit the tastes of the public with a multifaceted inconsistency. They appear as ordinary people in our lives in works, or as powerful people who are not realistic. The villain characters designed in this way are real human miniatures appearing in the relationships in our lives, and they cannot judge good or bad only by their appearance. Through the study of villains in American animation, many villains in American animation were summed up, and villains could be classified into three types: brutal, violent, and sneaky. Based on this, it was possible to analyze the appearance and attire of the villain character in American animation, and to create a vivid and popular image of the villain, it was found that the character of the character should be emphasized when constructing the shape and costume of the villain character. In conclusion, the attractive formation of villain characters is an important part for successful animation. The production of vivid and long-lasting villain characters must begin with detailed settings such as personality, shape, and dress from the planning stage, which is not only the intention of the producer, but also a reflection of the aesthetic psychology that society should pay attention to today.

• Journal of Fashion Business
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• v.8 no.1
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• pp.16-33
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• 2004

Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.

• Journal of the Korean Society of Costume
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• v.39
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• pp.217-237
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• 1998

The present research is to study the make-up culture of Korea and its neighboring countries such as China and Japan during the period from the prehistoric age to the 19th cen-tury. The research was made by documents analysis. The results are summerised as follows : (1) A man has a basic instinct to beautify himself. There was not a significant difference between the make-up behavior of men and women in its primal stage. It was by the start of farming and the division of labor that made the make-up behavior as a feminine culture. The difference of sexual role caused the con-ceptual difference between manly beauty and womanly beauty. It was very natural for women to regard the make-up as the best way for showing their feminine beauty. In Korea, China and Japan, there were vari-ous kinds of primal actions such as tattooing, body-painting, and tooth make-up which were used in the purpose of body protection, incantation, ornament, and so on. Ass their ornamental purpose was becoming more important, these primal actions became the basis of the feminine make-up culture. Nowadays make-up, having mental and emo-tional function, is helpful to increasing self-satisfaction, promoting good personal relation-ship, and attracting attention from the other sex. It also has other functions of showing social status, wealth, age, sex, courage, power, and so on. (2) The representative make-up product used widely in the three countries was Boon (powder) which decides the overall color of face. The key point in the production of Boon was to increase its power of adsorption. The invention of Yunboon (power mixed with lead) solved this major problem of Boon. Yeonji which decides the color of cheek was the mixture of Boon and the powder of Honghwa (a kind of red-colored flower or tree). Mimook (eyebrow pencil) was developed to match up with the various and changing currencies of penciling eyebrows in each nation and times, Yeonji and Joosa (red sand) were used as Jinji (lip stick). The predominant color of Jinji was red. As miscellaneous methods of partial make-up, there were Kon-ji used in a wedding cer-emony in korea, Aek-hwang, Hwa-jeon, Sa-hong, and Myun-yup in China, and Chi-heuk, a peculial method of partial make-up in japan. (3) There were various factors which decided the characteristics of make-up culture usually reflects international atmosphere, the form of government, economic situation, re-ligious and social ideology, aesthetic sense, symbolizing meanings of colors, and so on. The up and down of an influentian country was one of the major factors which decided the characteristics of the make-up culture of its neighboring countries. When a country took a liberal form of government, it had diverse and splendid tendencies in its make-up culture. The better a nation's economic situation is, the more abandant and various its make-up culture is, and sometimes, the more eccentric and decadents it was. In the field of make-up production, the three countries had their own characteristics. But, as a whole, China was the leading nation who spread the culture and products of make-up to Korea and Japan. Though the Chinese make-up culture and products were usually spread to Japan through Korean, there was some evidence of direct exchanges between China and Japan through its dispatches of Kyun-Tang-Sa(Japanese delegation to the Tang Dynasty). While religion had a positive influence on the development of make-up culture by introducing new methods of make-up, Confucianism exercised strict control over the make-up cul-ture. The currencies in arts and changes of esthetic sense introduced new methods and booms to the make-up culture. Literature made people pay increasing attentions to the countenances of women and changed the standards of esthetic sense. We can find out that the social status of woman was also reflected in the make-up culture. As the social status of women became higher, the feminine make-up culture also developed more then ever. As mentioned above, the make-up cultures of the three countries reflected their social values, esthetic senses, and emotional feelings. Through their cultural exchanges, the three countries could develop various make-up products and methods.

• (The) Research of the performance art and culture
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• no.20
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• pp.5-30
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• 2010

It has been diversified and serious attempt to establish the identity of Changgeuk, but it is still independent dramaturgy or the current unformed progressive art. In this situation, exploring works of the identity of changgeuk that is base on the performed individual and specific works in the title of Changgeuk is needed. The 80s and 90s Heo, Gyu was leading an active life as a director who was responsible for directing of Changgeuk. He dramatized Siljeon Pansori -which is a group of Pansori missing text- as well as 5-remained Songs in Pansori and he presented a number of creative Changgeuk works on stage. Especially, the completion of dramatizing 5-remained Songs in Pansori under the name of 'Wanpan Changgeuk -which means full version performance without omit-' is the one of his big achievement by performing "Heungbojeon" on the stage 1982 and "Jeokbyeokga" 1985. The purposes of this research are confirmation of Heo's direction of the formulation and considering its characteristics & significance through 'Wanpan Changgeuk' which written by Heo. Heo was a practical play who was interested in the subjective formulation of national culture and creative transmission for Korean traditional performance. He tried to formulate Changgeuk to a representative performance of Korea. In the process he pointed out those problems, (1) interpretation of a work problem, (2) actor's creative problems, (3) structure problem of theater for Changgeuk. He indicated that the other challenges are to use of the stage & device, to overcome sentimentalism, to stylize acting, to improve own quality, to control the speed and length of the song, to choose the suitable musical accompaniment, to create new repertories problems, and etc. Changgeuk is classified in 3 group by origin, (1)dramatizing of 5-remained Songs, (2)dramatizing of 7-missing Songs, (3)creative dramatizing. It contains all of 3 types that Heo's work. The dramatizing of remained 5 Songs are the great importance among those works. Heo hoped that Chaggeuk has become the most representative art work of Korea by performing 'Wanpan Changgeuk' compiled heritage of Korea's outstanding artistic achievement. The characteristics of 'Wanpan Changgeuk' can be summarized following four. (1) Directing attitudes that emphasizes tradition, (2) Accepting the elements of traditional performance actively, (3) Valuing the classy and ethic, (4) Emphasizing humor and active utilizing of the secondary characters. Heo's 'Wanpan Changgeuk' shows a peak of the artistic level which Changgeuk can be reached. He want to make Changgeuk a Korean representative artistic performance by compiling Pansori heritage and accommodating Korean traditional performance. Heo continued his effort to present Pansori's authenticity and to dramatize from beginning to end without missing. It shows very well that 'Wanpan Changgeuk' takes 4~5 hours for playing. It looks Heo's achievement in the 'Wanpan Changgeuk' influenced Changgeuk significantly since then. Heo's 'Wanpan Changgeuk' is matrix of 'Wanpan JangMak Changgeuk' attempted in the 1990s. Especially, their intent is consistent to synthesize texts and to show all the virtue of Pansori. But 90's 'Wanpan JangMak Changgeuk' aim for large stage, fancy device & costume and variety contents compared with 'Wanpan Changgeuk'. Recently, producers have tried not to make a impressive Changgeuk but to make a interesting one. They usually organize performance within 2 hours and prefer orchestral music to its unique sound. In those point of view, it seems that Heo's idle in 'Wanpan Changgeuk' has become one of target to conquer in these days.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.28-38
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• 2008

Balhae was an ancient Korean kingdom that existed almost 1,300 years ago. It was a dynamic time in the Korean history when the national strength was building up in terms of politics, economy and culture, thereby called as "Haedongseongguk, the powerhouse in the East". Balhae had dominated parts of Manchuria and the northern part of the Korean peninsula between the late 7th century and the 10th century, occupying the center stage of the northern Korean history. It serves as a window to the East Asia in the present as well as in the past. Yet, due to its geography spanning from the North Korea to Kilin Province of China to part of Heilongjiang Province and to the Littoral Province of Siberia, Balhae has been the center of historical disputes among neighboring countries that insist it is part of each of their own history. China argues that it was a prefecture of the Tang Dynasty, established by the Mohe, not a successor to Goguryeo, which is a China-oriented viewpoint of history. In addition, Russia recognizes Balhae as their first-ever medieval feudal state since the Littoral Province is now under their sovereignty. Therefore, the restoration of Balhae history is in line with the veritable establishment of the ancient Korean history. For this, it is necessary to embrace inter-disciplinary achievements and to continue efforts to adopt them rather than to blame the shortage of historical documents and the difficulty of the excavation of relics. If fashion is "a visual symbol" of our society, beauty culture serve as a mirror to reflect our civilization and culture directly or indirectly. Still, it is not easy to draw similarities by analyzing and comparing the attributes of various cultures and civilizations party because the essence of culture lies in diversity. Nevertheless, it is believed that cultural liaison as well as geographical liaison can be a medium to compensate for the limits of the foreign exchange history of Southeast Asia in proving the relationship between Goguryeo and Balhae, by examining and speculating beauty culture that reflect their period. It was confirmed by various documents regarding Goguryeo out of relics, historical sites and documents. Mural paintings showed how the people of Balhae wore and accessorized themselves. They also allowed us to speculate their way of living. As the contemporary historians can assert that Balhae is part of the Korean history thanks to the realism scholars in the late Joseon Dynasty, who rediscovered the Balhae history and conducted practical researches, it is expected that researchers who study beauty culture contribute to completing the restoration of the Balhae history by thoroughly examining our history, costume and beauty culture.

• Journal of Ginseng Culture
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• v.1
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• pp.57-66
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• 2019

Ginseng has been recognized as a lifespan extending medicine which has been regarded as one of the medicines classified as top medicines, as the Boncho (medical herbs) study which is influenced by the idea of guidance's costume and food concept mainly in China is gaining its bona fide form. As the demand for ginseng has been expanded to other levels, the demand for ginseng has been increasing. Ginseng from the nature reached its supply chain limit due to its extinction and difficulty of picking, so it translated into ginseng cultivation of economy rather than harvesting in nature. After the start of ginseng cultivation, the ginseng cultivation was further enhanced by the rapid development of processing methods such as white-ginseng and red-ginseng, and the surge of consumption due to the traditional belief in ginseng drug efficacy and support of scientific research. In the Joseon Dynasty, the name Gasam (cultivated ginseng) had been created as ginseng was cultivated on farmland after the stage of SanYang (wild cultivated ginseng), the purpose of the new name Gasam is to differentiate from natural ginseng, and natural ginseng lost its firm position as the genuine ginseng as the Gasam replaced the genuine ginseng, and the natural ginseng got a new name of SanSam (wild ginseng). Because the real ginseng substance concept dissipated, and as Gasam is being called ginseng, the name Gasam was also disappeared. As a result, it was possible to grow large quantities according to the arrival of the Gasam era, and it was possible to supply the demand for ginseng, and it could become one agricultural industry. In this ginseng cultivation, in Japan where ginseng did not grow naturally, it was difficult to obtain ginseng from Joseon and faced with a shortage of ginseng at all times. Therefore, the shogun cultivated the Gasam systematically at the national level by the inside of the shogunate. However, since the natural ginseng is native to China and Korea, there is a concern about the deterioration of the quality of natural ginseng due to the incorporation of cultivated ginseng (Gasam). To protect the interests, the cultivation of ginseng was subject to control. For this reason, the lack of historical information on Gasam cultivation, which had to be started secretly, would be a natural result. In this paper, althouh not sufficient enough, the historical informations were used to summarize the history of ginseng cultivation in China, Japan and Korea.

• (The) Research of the performance art and culture
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• no.39
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• pp.863-901
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• 2019

This paper deals with the process of developing a traditional culture content based on the historical spread of Jajimu, an ethnic dance of ancient Tashkent(Chach), to Tang China and then to Goryeo in Korean peninsula. Jajimu as a solo dance form was a very enegetic dance form that reflects the dynamic nature of namadic life, and it enjoyed high popularity in Tang China due to its exotic style after the 8th century A.D. Later, it gave a birth to a derivative duet dance form called Ssangjaji or Guljaji, an highly sophisticated elegant court dance item that reflects the aesthetic taste of Tang China. Further, the Ssangjaji was flowed into Georyeo around in the 11th century or earlier, and was transformed into a Korean court dance while renaming it as Yeonhwadae that means 'lotus pedestal'. I tried the production of a special performance which displys those three dance forms on same stage to demonstrate the historical connection of ancient Asian dance. It was not easy to restore the music, dance and costume of Jajimu and Ssangjaji because of limited historical materials whereas those of Korean Yeonhwadae have been well preserved and transmitted owing to old dance and music notation system. A large amount of audio, visual materials were collected and analysed to overcome those limits, and its result was utilized efficiently for the production. The final performance was the culmination of long preparation process for 11 months in 2015. In spite of some limits, this project has a historical meaning in the point that it was the first trial of same kind in the world.

• (The) Research of the performance art and culture
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• no.25
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• pp.253-289
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• 2012

Dasiraegi is a traditional funeral rite performance of Jindo located in the South Jeolla Province of South Korea. With its unique stylistic structure including various dances, songs and witty dialogues, and a storyline depicting the birth of a new life in the wake of death, embodying the Buddhism belief that life and death is interconnected; it attracted great interest from performance organizers and performers who were desperately seeking new contents that can be put on stage as a performance. It is needless to say previous research on Dasiraegi had been most valuable in its recreation as it analyzed the performance from a wide range of perspectives. Despite its contributions, the previous researches were mainly academic focusing on: the symbolic meanings of the performance, basic introduction to the components of the performance such as script, lyrics, witty dialogue, appearance (costume and make-up), stage properties, rhythm, dance and etc., lacking accurate representation of the most crucial element of the performance which is sori (song). For this reason, the study analyzes the music of Dasiraegi and presents its musical characteristics along with its scores to provide practical support for performers who are active in the field. Out of all the numbers in Dasiraegi, this study analyzed all of Geosa-nori and Sadang-nori, the funeral dirge (mourning chant) sung as the performers come on stage and Gasangjae-nori, because among the five proceedings of the funeral rite they were the most commonly performed. There are a plethora of performance recordings to choose from, however, this study chose Jindo Dasiraegi, an album released by E&E Media. The album offers high quality recordings of performances, but more importantly, it is easy to obtain and utilize for performers who want to learn the Dasiraegi based on the script provided in this study. The musical analysis discovered a number of interesting findings. Firstly, most of the songs in Dasiraegi use a typical Yukjabaegi-tori which applies the Mi scale frequently containing cut-off (breaking) sounds. Although, Southern Kyoung-tori which applies the Sol scale was used, it was only in limited parts and was musically incomplete. Secondly, there was no musical affinity between Ssitgim-gut and Dasiraegi albeit both are for funeral rites. The fundamental difference in character and function of Ssitgim-gut and Dasiraegi may be the reason behind this lack of affinity, as Ssitgim-gut is sung to guide the deceased to heaven by comforting him/her, whereas, Dasiaregi is sung to reinvigorate the lives of the living. Lastly, traces of musical grammar found in Pansori are present in the earlier part of Dasiraegi. This may be attributed to the master artist (Designee of Important Intangible Cultural Heritage), who was instrumental in the restoration and hand-down of Dasiaregi, and his experience in a Changgeuk company. The performer's experience with Changgeuk may have induced the alterations in Dasiraegi, causing it to deviate from its original form. On the other hand, it expanded the performative bais by enhancing the performance aspect of Dasiraegi allowing it to be utilized as contents for Performing Arts. It would be meaningful to see this study utilized to benefit future performance artists, taking Dasiraegi as their inspiration, which overcomes the loss of death and invigorates the vibrancy of life.