• Journal of the Korean Home Economics Association
• /
• v.45 no.1
• /
• pp.63-73
• /
• 2007

Korean children's clothes have unique aesthetic characteristics distinguished from other countries'. Our folk beliefs handed down from ancient times always contained fortune - seeking thoughts and particularly mothers' earnest wishes for the happiness of their children were sublimated into the symbolic beauty of their children's clothes. The present study examined children's clothes in the royal family and among the people for 50 years of the transitional period from the late Joseon Dynasty to modern times, by classifying them into ritual dress for new-born babies, festival dress and everyday dress. Male children's clothes included caps such as Bokgeon(복건), Hogeon(호건) and Gulle(굴레) topcoats such as Durumagi(두루마기), Sagyusam(사규삼) Koija(쾌자) and Jeonbok(전복) and others such as Magoja(마고자), Baeja(배자), Joggi(조끼) and Bajijeogori(바지저고리), Female children's clothes included caps and head ornaments such as Gulle, Jobawi(조바위) and Daenggi(댕기) and others such as Durumagi, Jegori and Chima(치마). What is interesting is that old clothes handed down to the present are mostly boys' and few of them are girls'. This is probably because of the strong preference for boys rather than girls that continued until the end of the 20th century. Ordinary people dressed their new - born babies with simple white clothes until Samchilil (the 21st day) or Baekil (the 100thday) but, for these occasions, the royal family prepared clothes as formal as those for the $1^{st}$ birthday among the public. Rainbow-striped garments were more popular among the public than in the royal family. As rainbow colors were known to Korean people to dispel evil power and bring in fortunes, rainbow - striped garments were essential for the $1^{st}$ birthday and festive days. However, they were seldom used in ordinarytimes, and most boys and girls wore plain jackets and plain topcoats. When children's clothes in noble families were compared with royal family's ones, either handed down to the present or found in old literature, no significant difference was observed in the basic composition of everyday dress. In particular, it was found that Andong Kim's family had dressed their children with very formal dress such as Dopo and Sagyusam. Among children's clothes, the most gorgeous one was that worn on the $1^{st}$ birthday, and those for other occasions or festive days were similar or simpler. Colors, patterns and designs used in decorating children's clothes mostly had the meanings of seeking fortunes for children such as long life, wealth and prosperity.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.12 no.4
• /
• pp.1749-1755
• /
• 2011

This study aimed to identify the effect of make-up education on the life satisfaction of elderly women based on a make-up education session for eight weeks from May 28 to July 16, 2010 provided to elderly women aged 60 or above who visited P Seniors' Welfare Center in D city. 80 samples were divided into the experimental group of 40 people and the control group of 40 people based on age and interest in make-up. Their life satisfaction level was identified before the survey. The experimental group received an eight-week make-up education session. In order to verify effects of the make-up education, follow-up tests were conducted toward the experimental and control groups both to compare life satisfaction levels. The make-up education was divided into elegant and natural make-up, make-up to look ten years younger, face-changing make-up, seasonal (spring, summer, autumn, and winter) make-up, make-up for Korean traditional costumes, and party make-up. In each class, students practiced make-up on their face while taking a lecture on theories. After the education, the students found the education satisfactory overall. Based on the results, the life satisfaction of the experimental group who received the make-up education significantly increased (p<0.05), confirming that make-up education affects the life at old age.

• (The) Research of the performance art and culture
• /
• no.33
• /
• pp.223-242
• /
• 2016

The Korean $taeg{\breve{u}}m$, a horizontal bamboo flute, is considered a representative wind instrument of Korean traditional music. Symbolized by its unique timbre and diverse techniques, this instrument transmits the beauty of Korea, and has become acknowledged even in international music scenes. Being a $taeg{\breve{u}}m$ player, composer, and ethnomusicology researcher, I have developed creative collaborations with musicians from Asian, electro-acoustic, jazz, and Western art music traditions developed outside my country of origin and tried to overcome musical boundaries through the 'intercultural performances' (after Turner 1988). Zooming in one collaboration, I detail the process of music creation and performance, collaborating with prominent Korean composer Kim $Taes{\breve{o}}ng$ (b.1967), who was commissioned by myself to write two compositions for the $taeg{\breve{u}}m$ and Western art music. The purpose is twofold: firstly, the modernization and appropriation of the Korean flute is briefly tracked down within the context of Western Art music. Secondly, a performance project is illustrated with the support of technical apparatuses such as DVD and CD recordings and delves further into the question of the 'cultural relativism' (Michael Tenzer, 2006: 7) through the interactive process. The performance-as-research, as a tool 'actualizing' (Richard Schechner 2003: 32) the hybridity, touches on critical domains in Ethnomusicology. The corresponding two parts discover, as Alan Merriam's(1964) 'tripartite model' suggests, the 'context' of Korean and Western cultures, the 'behaviour' of collaborating and performing and the 'sound' of improvised and composed productions in the course of music making.

• Journal of Korean Theatre Studies Association
• /
• no.48
• /
• pp.421-446
• /
• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.3
• /
• pp.32-47
• /
• 2013

The concepts of authenticity and integrity are very important standards to be satisfied in the conservation and utilization of Scenic Site (名勝), literally meaning the places of scenic beauty, as a public heritage. These concepts, which are frequently used in the conservation and utilization of the World Heritage inscribed by UNESCO, can be applied to all kinds of heritages. Recently, it has been widely recognized that the concepts of authenticity and integrity are not separable but interconnected. Accordingly, the maintenance of authenticity in Scenic Site should include not only the physical preservation but also the succession of historical tradition of enjoyment. The integrity in Scenic Site refers to the physical and social conditions under which authenticity can be satisfactorily protected. The aim of this study is to reconstruct the traditional ways of enjoying historical and cultural Scenic Site with emphasis on the Yeongnam Region and make a critical examination of cultural property protection areas that have been designated. Then, this study aims to find the ways to utilize Scenic Site to secure the standards of authenticity and integrity. As a result it was discovered that cultural property protection areas are not designated well enough to satisfy the standards of authenticity and integrity. Considering the fact that cultural property protection areas are the minimal institutional systems to maintain the original value of Scenic Site, it is necessary to pay more careful attention to the ways of securing the authenticity and integrity in Scenic Site.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.19 no.12
• /
• pp.186-196
• /
• 2018

Sports has become one way to improve our own health and to enjoy life by changing the lifestyle of modern-day people. Sports athletes not only give pleasure to the public, but also play a role in elevating a nation's reputation through sports. Tennis is popular with the public, and women players receive tennis wear from various sports companies to promote the designs to the public. This study considers the design-related characteristics of women's tennis wear through content analysis of design elements from the tennis wear in four major tournaments over the most recent five years. This is important in order to provide basic data on design directions for tennis wear in the future. The results of this study are as follows. First, the silhouette plays a role in enhancing activity by considering the physical movement of tennis players who are very active. Second, color emphasizes the rules and clarity of traditional tennis tournaments, and reflects a diversified trend in tennis wear by considering smooth game play by players and combining popular colors in the year. Third, patterns and decorations on material are used as a means to emphasize the esthetics of tennis wear, and tape plays an auxiliary role in emphasizing the physical beauty of women or preventing physical movement causing injury. In addition, sponsor logos are generally located at the center of the chest of tennis wear tops by mixing letters and images. This can be interpreted as a part of the marketing strategy to enhance clarity of the sponsor's brand.

• Journal of the Korean Society of Floral Art and Design
• /
• no.42
• /
• pp.63-96
• /
• 2020

The flower arrangement that human beings interact with the natural plants have characteristics according to their historical background and ethnicity and different aspects of culture related of the flower arrangements have been created by human inspiration and formative ability. The Korean flower arrangement is a product of civilization which originated in the natural environment of the four seasons. As background with the natural unity ideology, the Korean Flower Arrangement makes the life and philosophy of the naturalistic nature that flows in the mind of our nation to the relaxing beauty suited on cultures of ages by the Virtue, the Will, and the Vitality. The Literary Flower Arrangement is, based on the higher human personality and poetic sentiments as ideologies of our traditional oriental philosophy, the formative art made for aesthetic implications of philosophy by consisting plants' characters and tastes without expression of technical skills. In this study, focused on pine tree, in order to clarify that the flower arrangement of our spiritual culture is the Literary Flower Arrangement, make Identifying aesthetic characteristics through, the backgrounds and sources of being expressed by the Literary Flower Arrangement, poetic feelings, symbolism, metaphor, the formative form of flower arrangement, decoding of the flower arrangement genes, and the same time deduce the record of literary work and classify it each era, and establish the Literary Flower Arrangement theory which is the essence of Korean flower arrangement.

• The Korea Journal of Herbology
• /
• v.29 no.4
• /
• pp.69-76
• /
• 2014

Objectives : Gami-Chunggisan extract (GCE) is one of the oriental traditional medicine. We investigated the antioxidant effect and reduction of pro-inflammatory cytokine as a functional ingredient for cosmetic products from the GCE. Methods : GCE was prepared by extracting with 80% ethanol. We analyzed total polyphenol and antioxidant activities. To evaluate antioxidant activity, we measured 2,2'-azinobis-(3-ethylbenzothiazoline-6-sulfonic acid) (ABTS) and 1,1-diphenyl-2-picryl-hydrazyl (DPPH) free radical scavenging assay. Also we measured the production of reactive oxygen species (ROS) and nitric oxide (NO) on Raw264.7 cells. We researched reduction of anti-inflammatory cytokines from concentration of GCE on Raw264.7 cells. Results : Total polyphenol quantity of GCE was included 46.6 mg/g. The GCE showed ABTS free radical scavenging ability with more than 89% at $1000{\mu}g/m{\ell}$. In addition the DPPH free radical scavenging ability from the GCE was activated over 93% at $1000{\mu}g/m{\ell}$. Production of the ROS was decreased by approximately 26%, upon the GCE treatment at concentration of $100{\mu}g/m{\ell}$. The GCE at $100{\mu}g/m{\ell}$ concentration showed inhibitory effect on NO production by 38%. Production of IL-$1{\beta}$ and IL-6 were decreased by approximately 56% and 36%, respectively upon GCE treatment at $100{\mu}g/m{\ell}$. Also, production of TNF-${\alpha}$ was decreased by approximately 79% at $100{\mu}g/m{\ell}$. Moreover, the GCE showed inhibitory effects on the expression of the IL-$1{\beta}$, IL-6 and TNF-${\alpha}$ genes in LPS-induced Raw 264.7 cells. Conclusions : From the results above, we conclude that the GCE indicated significant antioxidant effects and induced reduction of pro-inflammatory cytokine.

• The Korea Journal of Herbology
• /
• v.34 no.1
• /
• pp.117-124
• /
• 2019

Objective : Chronic acid reflux esophagitis (CARE), one of gastroesophageal reflux disease (GERD) is increasing worldwide. Coptidis rhizoma extract (CRE) is a traditional herb that cures a variety of diseases. This study was conducted to evaluate the protective effect of CR on rats with chronic acid reflux esophagitis. Methods : The antioxidant activities were evaluated through radical scavenging assays using 2,2-diphenyl-1-picrylhydrazyl (DPPH) and 2,2'-azino-bis (3-ethylbenzothiazolin-6-sulfonic acid) (ABTS) radical scavenging assays. CARE was surgically induced in 5-week-old male SD rats by ligating the border between forestomach and glandular portion with a 2-0 silk tie and covering the duodenum using 18-Fr $N{\acute{e}}laton$ catheter. To evaluate the esophageal protective effect of CRE, rats were divided into 3 groups: Nor (normal rats), Veh (chronic acid reflux esophagitis induced rats), CR (chronic acid reflux esophagitis induced rats treated with CRE 200 mg/kg body weight). Results : The administration of CRE significantly prevented the mucosal injury of the esophagus tissue and histological findings improved the esophageal lesion. It has been shown that inflammation is prevented by the increase of antioxidant-related factors (Nrf-2, HO-1, SOD, catalase, and GPx-1/2) through the antioxidant pathway of esophageal tissue. The administration of CRE reduced the increase of serum peroxynitrite ($ONOO^-$) and markedly reduced the protein expression of inflammatory mediator such as $NF-{\kappa}Bp65$, $p-I{\kappa}B{\alpha}$, iNOS, and IL-6. Conclusions : Overall, these results suggest that CRE administration confirmed the protective effect of esophageal mucosa, suggesting that it is a potential treatment for chronic acid reflux esophagitis.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.50 no.6
• /
• pp.15-29
• /
• 2022

The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.