• The Journal of the Korea Contents Association
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• v.6 no.12
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• pp.147-154
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• 2006

The final purpose of this study is to explore morphological change of Shenyang in the period of the rising Chung Dynasty. For that purpose we have tried to build the historical GIS DB of site and analysis of the structure and shape pattern of the city by using the functions of GIS. From the view of spatial structure and cultural context, main characteristics, which is derived from the analysis of ancient map of Shenyang, can be summarized into five things as follows ; transformation of open spatial structure into closed structure, combination of horizontal spatial structure with vertical structure, transformation of practical spatial structure into symbolic structure, transformation of natural spatial structure into institutional form of ancient Chinese capital city, conservation of traditional Manchurian culture.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.34 no.5
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• pp.173-180
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• 2024

The Forbidden City in Beijing, China, served as the imperial palace and was a significant political and cultural center during the Ming and Qing dynasties. The complex architectural structure and artistic, symbolic elements of the Forbidden City continue to inspire modern artists and designers. However, there has been relatively little research on developing jewelry designs inspired by the Forbidden City, particularly in terms of color, form, and other elements. This study selected six major buildings from the Forbidden City and analyzed their exteriors and patterns, creating sketches based on this analysis. The colors were analyzed using the HSB color model. The research used the analyzed forms (double-eaved hipped roof, double-eaves gable and hip roof, and single-eaved hipped roof with four ridges), decorations (dragon patterns, three intersecting six-petal lattice), and color differences, the Hall of Supreme Harmony bracelet, Hall of Preserving Harmony earrings, and Hall of Central Harmony ring were completed. The study reinterprets the historical value and artistic beauty of the Forbidden City through contemporary jewelry design, presenting a new design paradigm that harmonizes tradition and modernity.

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.137-151
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• 2012

In 1966, $Seokgatap$ pagoda in $Bulguksa$ temple was damaged by the tomb robbers and was dismantled to fix the damage. In the process, many offerings to Buddha and containers for Sarira(the cremated remains) were found in $Sarigong$(specially designated space for the Sarira casket) inside the second floor of the pagoda. Many fabrics like $Geum$, $Neung$(twill), $Rha$(complex gauze), silk tabby and linen were also excavated. In this study, $Geum$ fabric from the $Seokgatap$ was closely examined. $Geum$ of $seokgatap$ is weft-faced compound weave according to the analysis of its weaving pattern which was wrongly presumed as warp-faced compound weave for some time. Technical analysis of $Geum$: Main: silk, Binding: silk, Proportion: 1 main warp to 1 binding warp, Count: 15 main warps and 15 binding warps per centimeter, Weft: polychrome silk without apparent twist, Colors: yellow, mustard yellow, deep blue, green and purple, Weave: weft-faced compound twill, 1/2 S. $Geum$ of $Seokgatap$ was made in the $8^{th}$ century, since it was weaved in weft-faced compound weave twill which was popular in the $8-9^{th}$ century. And also, the arrangement of the colors was done in the same way of gradation $Geum$ silk which was popular in the $7-8^{th}$ C in China and Japan. Third, we restored the pattern of $Geum$ of the Unified Shilla Dynasty for the first time. It was very difficult to figure out the shape and the size of pattern since the fabric was partially lost and ruined. We tried to draw the diagram of structure with the cross point of the warp and the weft to restore the pattern. By doing so, we could identify two kinds of small flower pattern, palmette and the pattern of repeating vines. Fourth, we could infer that the $Geum$ of $Seokgatap$ was used for $geumdae$(a pouch made of $geum$) by analyzing all the documents and the characteristics of the fabric.

• Journal of Mushroom
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• v.22 no.3
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• pp.81-86
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• 2024

Cordyceps militaris is widely used in China, Korea, and other Asian countries as both a traditional medicinal ingredient and an edible fungus. This study aimed to optimize the growth conditions and fruiting body production of C. militaris by investigating various culture media and physical parameters such as pH, aeration, illumination, temperature, spawn materials, and oat-sawdust-based substrate formulations. After a 7-day incubation period, oats with a pH of 6.0, under sealed and illuminated conditions at 32℃, demonstrated the most effective mycelial growth. Substrates consisting of 70% oat and 30% sawdust had the shortest incubation time of 30.5 days for fruiting body formation. The basidiospores showed a typical germination pattern where the sporidium produced a single germ tube that elongated, and branched to form monokaryotic primary mycelia. In conclusion, using oats as a substrate in the cultivation of C. militaris could reduce production costs and help protect the environment.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.87-100
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• 2004

This study is to understand the types and characteristics of wool fabrics of the Korea. It classifies the types of wool fabrics whose name can be found in the documents by their weaving methods and it researches their characteristics by type, time, usage, and pattern. In Wool fabric of the ancient age were there compound weaving fabric, such as Gyesoo. which is made with embroidery method, Gyegum, which is made with embroidery in gold threads, as well as general fabric, such as plain-weaved Gal, twill-weaved Sagal, gauze-weaved Mosa, Mora, etc. There were also various weaving methods, such pile-weaved Yung, tapestry-weaved Tabdung, or Guyoo, or Dahm, felt-weaved Jeon, etc. It was found in documents that wool fabric such as Gye, Jeon, Dahm were produced in Korea and China. In case of Korea, wool fabric was enormously developed in Koguryo, Shilla, Balhai, United Shilla. Koryo era. Particularly in Koguryo and Balhai, the stock-farming and hunting were the main parts of their occupation. In Koryo era, the weaving technique of wool fabric had made great development. The wool fabric was used not only in clothing but also in official hats, rugs. wall-tapestries, etc.

• Journal of the Korean housing association
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• v.27 no.1
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• pp.13-20
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• 2016

The paper takes the rural housings of the Chaoxian nationality of Ham-kyeongdo in the three provinces in Northeast China as research object, to discuss the spatial form andthe characteristic of the change in the housing. The research result shows that the dwellings' plane forms in the Tumen River, the coast of Yalu River and the Sino Russian border are mainly traditional "Jeong-ji central type (J)", while in Heilongjiang are mainly "Jeong-ji and corridor central type (J-C)". In the evolution of living space and behavior patterns, there appears sliding door and partition between Jeongjibang and kitchen in the former, and Badang space in the front of the Kang and the behavior pattern remains its original seat-type lifestyle mainly. While there forms Dikang space and living space in the process of different cultures blend and modernization in the later and appears some upright-type behavior patterns. There is distinct characteristic in regional changes in both.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Journal of Oriental Neuropsychiatry
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• v.33 no.3
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• pp.301-316
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• 2022

Objectives: To compare Korean medicine (KM) and traditional Chinese medicine (TCM) psychotherapy for anxiety. Methods: Databases including MEDLINE (via PubMed), EMBASE (via Elsevier), Cochrane Central Register of Controlled Trials, China National Knowledge Infrastructure, and Oriental Medicine Advanced Searching Integrated System were comprehensively searched. Prospective clinical studies on KM or TCM psychotherapy for patients with anxiety disorder or individuals with elevated anxiety levels published up to August 3, 2022 were reviewed. Psychotherapy was divided into counselling, art therapy, and meditation according to its characteristics. Results: A total of 12 clinical studies were reviewed, including nine randomized controlled trials. The most common disorder investigated was post-traumatic stress disorder. Ten studies used TCM psychotherapy and two used KM psychotherapy. As for differences between TCM psychotherapy and KM psychotherapy, TCM psychotherapy utilized pattern identification in the procedure more actively than KM psychotherapy. In addition, some TCM studies have attempted to directly converge Western psychotherapy (i.e., hypnosis) and Eastern psychotherapy (i.e., Taoin qigong therapy). In the case of KM psychotherapy, there was an attempt to incorporate psychotherapy with Sasang constitutional medicine. Reported effects of TCM psychotherapy and KM psychotherapy on anxiety were positive. Conclusions: Research status of KM psychotherapy and TCM psychotherapy for anxiety was investigated, revealing some of their characteristics, commonalities, and differences. Findings of this review have the potential to provide a clue to the development of conventional KM psychotherapy and new medical technology for KM psychotherapy.

• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.124-140
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• 2023

This study analyzes traditional women's Hu costumes of the Tang dynasty, and deploys a creative fashion design to converge contemporary and traditional styles. In this costume, women wear a robe with striped or plain patterns in the lower part of the pants, and it appears frequently in red and yellow colors. Depending on the sleeve, it is either a round collar or a turn down collar robe. In the Hu hat, the huntuomao and juanyanxumao were leather and mili and weimao were used to prevent the sand from flowing. This study uses the CLO 3D program with the "moment" theme based on the Hu costume for women to deploy 4 pairs of fashion design and to produce works for 2 pairs. The 3D virtual clothing program demonstrates important effects in design deployment and pattern arrangement through its efficiency and convenience of clothing production. The CLO 3D program was closely combined with the 2D design and the 3D affect, and it heightened the efficiency in saving the processing time and energy of the sample clothes. Through facilitating the 3D digital fashion design, the production may reduce time needed and contribute to an effective economy, and it may compare digital fashion design to actual products as well as illustrate the potential of digital fashion design.