• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.929-944
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• 2011

The purpose of this study was to compare and analyze two original forms of slacks for thesis to extract outward appearance of design original form applying design measures of the above through diverse research methods. The results of this study are as follow: In original form F, the original form of slacks sloper suitable to elderly women 65~9 years old was W/4+3.5+0.5cm in the front/back circumference of waist, H/4cm in the front/back circumference of hip, (H/4+1+3.8)/2cm in the position of centerline, 19cm in actual measurement value of hip length, 25cm in actual measurement value of crotch depth, (knee crotch circumference~bottom line)/2+10cm and 90 (side waist dot~ lateral malleolus length)cm in actual measurement. front dart position was 1/3 and 2/3 of front waist centerline and back dart position was 1/3 and 2/3 of back waist circumference. It was suggested that front dart quantity (length) was 3.5(11)cm, back dart quantity 3.4 (10.2)cm, side waist up quantity 0.7cm, back down quantity 1.5cm, front crotch width (H/4+1)/4-1cm, back crotch width (H/4+1)/4+4, front knee width 21.8cm, back knee width 24.4cm, front pant leg 20.8cm, and back pant leg 23.4cm.

• 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 the Korean Society of Food Culture
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• v.17 no.3
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• pp.337-362
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• 2002

The history and culture of using Zhu to help take food in China is a focal question in contemporary Chinese academic circle and leads to various conflicting ideas. This article, based on original historical documents, archaeological findings, cultural relic authentication, field investigation and the author's long-term thinking, comes up with a series of new conclusions. Firstly, Zhu emerged and developed along with cooked food and granular food served in bowls; secondly, there had been a period of using a single Zhu in China's history before two Zhus being used simultaneously; thirdly, the development of Zhu culture went through five historical periods, namely the former form, the interim form, the Jia form, the Zhu form and chopsticks form. In addition, the author gives out his unique viewpoints on some other relevant questions, including the Zhus which can be dated back to the Neolithic Age unearthed at Longqiuzhuang in Jiangsu province, Jiangzhai in Shanxi province etc, and the bronze utensils in the shape of Zhu unearthed in 1934 at Yin Dynasty ruins in Henan province.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.146-165
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• 2016

With the introduction of the system of recognizing masters of craft and performance skills in 1970, the principle of "preserving the original form," which was already in general use, was adopted as a legal principle in the Cultural Heritage Protection Act. While the concept "original form" can be related to tangible elements of heritage through the Act, the intangibility of craft and performance skills does not allow their pinpointing at a particular temporal period or the identification of a particular master from the past as the basis of an original form. Therefore, those craft or performance skills that are available at the point of recognition of relevant masters must serve as the basis of the original form for the intangible heritage concerned. This means that the principle of preserving the original form of intangible heritage has been implemented not based on a fundamental form of materiality, but rather on the craft or performance skills that may be held by a master at the time of his/her recognition as a "temporary original form." This principle has been observed through intangible heritage transmission and education policies for recognized masters and their trainees, contributing to establish an elitist transmission environment in which public were denied to join the education on intangible heritage. Even with policies guided by the principle of preserving the original form, designated craft and performance skills have been transformed contingent upon given social and environmental conditions, thus hindering the preservation of the original form. Despite the intrinsic limitations of the principle of preserving the original form when applied to intangible heritage, this principle has served as a practical guideline for protecting traditional Korean culture from external influences such as modernization and Westernization, and also as an ultimate goal for the safeguarding of intangible heritage, engendering actual policy effects. The Act on the Safeguarding and Promotion of Intangible Cultural Heritage that comes into effect in March 2016 takes the constantly evolving nature of intangible heritage into consideration and resultantly adopts a concept of "essential form" (jeonhyeong) in place of "original form" (wonhyeong). This new concept allows for any transformations that may take place in the environment surrounding the intangible heritage concerned, and is intended to mitigate the rigidity of the concept of "original form." However, it should be noted that "essential form," which is manifested as the unique significance, knowledge, and skills delivered by the intangible heritage concerned, should be maintained according to the guidelines and principles related to heritage conservation. Therefore, the new concept can be understood not as a rupture, but more as a continuum of the concept of "original form."

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.197-206
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• 2012

This study focuses on comparative study of the representation of 'traditionality' in Asian hotel guest rooms. Hotel can be a concentration of the country's culture and tradition and provide unique experience to guests through its space, decoration, and material. However, most hotels in Korea are lack of a strong identity based on the Korean culture and tradition, due to adoptation of the western hotel styles without any criticism. The purpose of this study was to investigate the expression methods of the traditionality in Asian hotel guest rooms to provide design guideline to enhance identity of hotel guest rooms in Korea. Through analysis of the previous researches, criteria of the three design application methods and the five design elements were defined to analyze the representation of the traditonality. Design application methods were categorized as "Original form", "Partial adoption", and "Metaphor". Five design elements include "Shape", "Material", "Color", "Object", and "Pattern". Thirty nine Asian hotels containing the traditional design elements were explored in the study. In result, design application methods in Korea used all three methods equally, while other Asian countries used mainly the Partial adoption and Metaphor methods to express their traditions rather than the Original form method. All five deign elements were mostly used in case of the Original form methods, and two or three elements among five elements were used for the Partial adoption and Metaphor methods. The traditional representation of hotel guest rooms in Korea, reflecting current thinking, living pattern and culture, will be a solution for the new hotel design as well as elevation of Korea's status to a higher level.

• International journal of advanced smart convergence
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• v.11 no.3
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• pp.85-92
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• 2022

Known as "The Ninth Form of Art", video game is a form of hypermedia art rising in response to the rapid development of modern technology, with millions of fans worldwide. From the perspective of the game market, those games that have high stickiness and a long operating cycle usually have abundant doujin works. As a spontaneous behavior of the players, doujin culture reflects the players' feelings towards and perception of the games, and it reacts upon the original game while relying on it, exerting a far-reaching influence on the operation of game products. We try to analyze the influences of doujin culture on game operation performance, hoping to provide game operators with some useful ideas.

• Cross-Cultural Studies
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• v.26
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• pp.201-226
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• 2012

This essay exams the issues of aesthetic elements that come up when Korean novels get translated into Chinese language. The short story collection titled "An old well" written by Jeong Heui Oh in both languages are compared and analyzed by focusing on the mode of narrations. There are various narrative modes in "An old well". Each narrative mode properly functions for aesthetic effects and drawing meanings. In short, we can find a way to grasp its leitmotif the writer wants to indicate only when we carefully interpret the narrative modes in the original text. However, the narrative modes in Korean text have been simplified by changing its modes into direct narrative in Chinese-translated text. Thus the aesthetic effects in the original text have been spoiled and the Chinese text fails to deliver its meaning involved in the original narrative mode. Translation of novel invites consideration on both of its form and content on account of the text's uniqueness. Accordingly, a close examination and study of the original text should be completed beforehand.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.141-148
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• 2007

As Backje(B.C. 18-A.D. 600) is the whole area of Chungcheong, Jeonra, Kangwon and Gyeongsang provinces, the son of the founder of Goguryeo, King Onjoe, making the castle Wu'irae capital of the nation, founded Backje. The capital was transferred to Hansung by B.C. 5 and then to Gongju by A.D. 475. Backje governed the east of China and the northeastern coast. Due to the effect of Chinese culture there are remarkably Chinese cultural elements in dress and its ornament of Baekje. Therefore on the side of cultural part, the noble culture was formed more polished than that of Goguryeo, which affected the culture of dress and ornament. And also there were class differentiation noticeably. Baekje created splendid culture and affected the culture development of Shinra and Japan. The motive of culture creation could be the top of three countries in the foreign trade because there were geographically the widest vast plain and coastline which stretches out from north to south. Although there haven't been many materials about the cultural heritage and records more than other countries, through the modern visual point its design is fresh and more elegant those of other countries. But the fact is that there are few materials related to Baekje. What is worse, there rarely remains all original form and most of them are broken and lost. According1y, we cannot understand not only an original form of Baekje culture and but also the meaning included in it. It goes without saying that there are few materials about the clothes and fabrics. As understanding the culture of Baekje itself is insufficient, a culture enterprise utilizing it - to improve both the added value and economical achievement while combining the latest culture resources with other fields - hasn't been successful. In this study, the purpose is to improve economic power through commercialization and industrialization of the sources of the culture of Baekje. By reanalyzing a form and an image of Baekje relics, it is designed with new motif and modem preference on the condition of our peculiar cultural heritage. And while using this motif with Jacquard pattern, we made it possible to be applied to real life such as interior trinkets, etc.

• Journal of the Korean Society of Costume
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• v.27
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• pp.17-26
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• 1996

This thesis is to study the original form of Buckles of our country in ancient times On the upper garment bound the leather belts that was hanged a hook that shaped of animal form at the end. The background of Buckles was originated from those northern mounted normadic groups which was Scythe style costume culture. In Korea through the antique records and tombs bequests the styles of Buckles was divided into three groups horse-shaped tiger-shaped bar-shaped Buckle. These styles were influened by scythe style and developed greatly and trasmitted to Japan.

• The Research Journal of the Costume Culture
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• v.15 no.5
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• pp.749-759
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• 2007

As the traditional style is treated as one of the important themes in fashion recently, how to apply the formative character in Korean and Japanese traditional dress to modern fashion is searched through actual analysis of photograph material, Both design formative elements were confirmed by clothing and fashion department majors through visual data so that 20 pieces of them were selected as final analysis object. Korean traditional dress form in modern fashion emphasizes curvaceousness as plane division. On the other hand, that of Japanese shows straight line, layered, belt, big look through up & down connection style. Color in Korean traditional dress prefers white and original color and modern fashion displays the natural beauty through harmony of similar colors ; that of Japanese based on natural color such as persimmon color cherishes natural beauty and implicit moderation showing harmony of various original color with brilliance and neutral color. While texture in Korean traditional dress was fine and exquisite, that of Japanese preferred coarse and tactile ones. In motif, Korea was natural and geometric but Japanese variously used complex and geometric ones. Likewise, the result suggests that the formative character in Korean and Japanese modern fashion affects the modern dress format as new aesthetic sense and takes on more complicated and subtle aspect in basic form, not just use so far.