• Journal of the Korea Fashion and Costume Design Association
• /
• v.6 no.2
• /
• pp.111-121
• /
• 2004

The Mevelana sect is a spiritual Islamic group experiencing spiritual transaction with their god through a peculiar dancing as a form of religious ritual. The Mevelana, a sect of Islamic Sufism, has their head mosque in Konya in Turkey. Although Mevelana sect is regarded as heretic of Islam, it has exerted considerable influence on the Islamic religion through its peculiar religious worshiping form constituted in dancing and reciting poems. Nowadays, Turkey recognizes the Mevelana dancing as their precious cultural legacy of a long history, exerting public information efforts to give it for wider publicity of Turkey to the world. The Mevelana dress with ornament attired for the ritual dancing performance is regarded to symbolize a spiritual medium, which leads to conciliation with the eternity. The straight lines and curved line characteristic of the Mevelana dancer's trousers, skirt, jacket and such mirrors the image of the Orientals, which is in peculiar contrast with the white and gray colors of the dress with ornament. The impression of the spiritual Mevelana dressing in harmony with the dynamic dancing motion goes beyond mere a religious dressing. It is expressive of a graceful and sophisticated modern formative art, of which the mystic design gives an inspiration to the modern fashion. After Poiret, Islamic factors have emerged in the modern fashion. For instance, a hat with Arabic fashion lapel, a Fez hat of Turkish style, harem pants and such are still popular in the modern fashion. It seems probable that the Iraq War would far more activate the influence of Arabic culture to the modern fashion. By making an analysis on the religious background and formative characteristics of the Mevelana dressing, and by giving design examples on how the Mevelanan dressing has been applied to the modern fashion, this research suggests working out new designs by making a renewed application of their characteristics to the modern fashion.

• Journal of the Korean Society of Costume
• /
• v.56 no.2 s.101
• /
• pp.17-31
• /
• 2006

This study is tried to identify the changes in modern Hanbok for the past five decades through the literatures and actual materials such as the First Ladies' costume. In Hanbok fashion, there is a trend that influenced by politics, economy and culture just like in western fashion. After liberation from the Japanese colonialism, the most important factors in Hanbok fashion were economic factors caused by the development of textile industry and the dressing attitude of the First Ladies at that time. In 1950s, a modified Hanbok that is easy to wear was popular. It was partly because of the west oriented atmosphere after the Korean War and mainly due to the practical dressing attitude of First Lady, Francesca. In 1960s and 70s, former First Lady Yuk Young Soo who loved and had good taste for Hanbok led the fashion. At that time, high ranking female social leaders as well as general public usually wore Hanbok on formal occasions. Therefore, textile industry for Hanbok developed a lot and tailored shops that specialize Hanbok emerged. In 1980s, as the economy got better, Hanbok was upgraded and it became more luxurious. Traditional Hanbok was revived through a historical investigation. Additionally, the former First Lady Lee Soon Ja helped fostering a luxurious mood as she wore a Hanbok as a formal dress. After 1988 Olympic Games were successfully held, the importance of the traditional culture was emphasized in 1990s and Hanbok followed retro trend rigorously through the academic approaches including a dressing history. Hand painted and naturally dyed Hanboks were strong in this period. Former First Lady Kim Ok Sook's sophisticated Hanbok attire partially had effect on this mood. However, From the late 1990s Hanbok became less popular. It was partly because the former First Lady Son Myoung Sun and Lee Hee Ho preferred western style dresses and did not play a role as Hanbok fashion leaders.

• Journal of the Korean Society of Costume
• /
• v.58 no.4
• /
• pp.35-46
• /
• 2008

The purpose of this study was to closely examine the history of glasses and their cases used in the middle and late of Joseon Dynasty and identify inherent quality of our traditional glasses cases through color analyses of glasses cases' material and shape. While theoretical examination was conducted based on the literatures of glasses and their cases that firstly appeared in around Japanese Invasion (Imjin war) of Korea in 1592, practical analyses were demonstrated on photos of glasses cases used in the middle and late of Joseon Dynasty collected from both museum pieces and the internet which were grouped into wood, fabric, paper, sharkskin, hawksbill and cow's horn in accordance with their materials. 623 color samples were abstracted from collected 159 glasses cases and quantity analyses on each material were performed respectively. Abstracted representative colors based on the result of color analyses were classified into the main materials and accessories' color scheme. The result of this study are as follow: firstly, both Yellow and Yellow Red were mostly used in main materials. In Fabric case's colors were widely used in embroidery and in animal matter material cases such as sharkskin, hawksbill and cow's horn, which can be used as itself or dyed, Green Yellow shown in high frequency. Secondly, accessories were analyzed into similarity coloration with main materials. From this finding, it turns out that our traditional cases have characteristic of similarity coloration between main materials and accessories. Red Purple and Purple Blue in high frequency in accessories used as an accent color. Finally, based on the analysis of hue and tone, while the middle and low value colors shown in very high frequency, the high-chroma colors hardly shown.

• Korean Institute of Interior Design Journal
• /
• v.22 no.3
• /
• pp.164-173
• /
• 2013

This study starts from the genealogical analysis of the urban public spaces through local history of Seoul which is significantly different from western countries. The analysis targets the discourse on the urban street, the basic unit of urban tissue and the settlement condition in urban life, which defines urban space-structure among the urban public spaces. And this research classifies and categorizes the value recognition and policy value occurred each period. Based on these, this research defines the progress levels of urban public design policy in Seoul as follows. Results Firstly, 1890's and 1900's was the period of development in commerce and industry, which caused congested and crowded streets. The open port policy allowed the experience of the foreign circumstance, and thus the identity of the urban streets and the value of symbolism come to realize among the society. During the Japanese colonization, urban streets put on modernized images through the urban remodeling out of the context according to the colonization policy. The brand-new values such as publicness and amenity are injected as well as modern regulations by system and authority. From Liberation to 1950's, it performed only street restoration as a repair from war with Japanese colonial system because of the political confusion and administrative vacuum. Finally, each period can be defined as follows. 1890's and 1900's can be defined as 'spontaneous finding the modernization' because urban street was intentionally transformed by the empire. Period of the Japanese colonization can be defined as 'the formation of modernized urban street concept and the compulsion of modernized regulation.' And period of from Liberation to 1950's, can be called as 'the absence of value recognition and maintenance of colonial system.' methodology.

• Archives of design research
• /
• v.11 no.3
• /
• pp.177-185
• /
• 1998

Started from the Industrial Revolution in England, the design movement, the concept of plastic arts is spread and developed in many European countries. It meets new phase due to the much more developed industrial techniques and internationalized era since the World War II. The concept of identity in design appeared with industrial diversification, specialization, and inter- nationalization comes out through every visual identification standards. And the concept is used in public facilities and groups such as national institutions, schools, hospitals, or lots of religious bodies, as well as in industries to aim at the most profit from products' sale. Since the opening of Seoul National University of Technology in 1910, the university which has long history and tradition of about 90 years has used the unique visual identification in changing the University name to meet with the surrounding environment and the timely characteristics. However, the English name for the University was changed in 1998, so the new era to leap was open. Therefore, the University introduced formally the concept of U. I. (University Identification) with the new image. It is an inevitable outcome of modern time.

• Journal of the Korean association of regional geographers
• /
• v.13 no.5
• /
• pp.477-494
• /
• 2007

This paper offers a brief overview of the historical implications of residential segregation in Busan, Korea. It first reviews the history of residence from the early 1900s to the present and the transition of residential boundary of the City of Busan. It then considers the characteristics of residential segregation and the important factors in it. The social class of pre-industrial society led the inequality of residential areas around the Eubchee. The existed Korean residential areas were separated by newly built-up residential areas in the Japanese colonial era. After the liberation from Japanese Rule and Korean War, rapid population growth made considerable slums across the City of Busan. These slums were an important factor to segregate residential areas from prosperous areas ever afterward. The socio-economic status has related to residential segregation through the formation of differential housing classes since 1990s. The historial analysis of these periods will offer an insight into how the dominant factors lead residential segregation in a specific period by promoting a more socio-economically integrated society.

• The Journal of Art Theory & Practice
• /
• no.4
• /
• pp.7-32
• /
• 2006

This study is about the cultural policy related to fine art under the U. S. Military Government in Korea(USAMGIK), from September 8, 1945, to August 15, 1948. Drawing on the previous studies of Korean art history in the 'Liberation Period', this study especially concentrates on intention, attitude and activities of the USAMGIK. Particularly the historical documents, stored at the National Archives at the College Park, Maryland, U.S.A., were valuable to do research on the cultural policy of USAMGIK. The cultural policy was subordinated to the political objectives of occupation that can be summarized to building a stronghold of anti-communism in South Korea. Under the U.S. Military government control, cultural matters were assigned to the Cultural Section, the Bureau of Education, which later turns into the Bureau of Culture, the Department of Education. The Bureau of Culture dealt with matters of the ancient Korean art treasures and of the Korean contemporary art. USAMGIK reopened the Korean National Museum which had been closed by the Japanese since the World War II period. After that, U.S. Department of State sent arts & monuments specialists to South Korea for investigating ancient Korean art and culture. Although some of the destructed art treasures were restored during the occupation, th ere were many negative cases including intentional destruction of historic sites or loot of art treasures by U.S. army. In contrast to their interest in the Korean antiquities, USAMGIK payed little attention to promoting the Korean contemporary artists and their arts. USAMGIK distrusted and suppressed the artists of leftism, while they kept good relations with the pro-American artists and the right-wing artists. In conclusion, the visual-cultural policy of USAMGK was mainly planned and carried out in order to preserve the national interest of the United States. This period produced long-term effects on the fine art and visual culture of South Korea, in terms of institution, policy, and reorganization of art community based on anti-cummunism.

• The Journal of the Korea Contents Association
• /
• v.10 no.10
• /
• pp.152-160
• /
• 2010

Modern comics find their roots in caricatures, which have a basic element of comics as a combination of wrings and drawings. In three East Asian countries, new media, comics have been developed by joining modern arts and cartoons which is a news form of western comics. As modern comics have evolved according to situations of the three countries, they expand from the satire on the system, foreign invasions, and internal corruption to the enlightenment of the people. However, the criticism on the system lead to the oppression, and the imperialism in East Asian countries enforce the agitation, war engagement, propaganda of the colonialism on the comics. Current East Asian comics have been occupying the largest part in the world comics, and have their roots in the modern comics. So it is meaningful to investigate the characteristic of modern East Asian comics.

• Journal of Korean Medical classics
• /
• v.21 no.4
• /
• pp.75-83
• /
• 2008

Based on the sentence "The number of my family member and relatives reached around 200, but since the first year of Geonan(建安) era, two thirds of them died and seven out of ten died of cold damage in less than ten years" in Sanghanjapbyeongron(Treatise on Cold Damage and Miscellaneous Diseases), which is allegedly known to be written by Jangnunggyeong(張仲景), we analyzed the sentence by three factors of time, location and people. These factors are used in the investigation of the disease outbreak, and through this analysis, following conclusions were made. 1. Approximate 10 year crude mortality rate since A.D 196(the first yea of Geonan era) in Jangsa(長沙) province was 67 out of 100 in the population. Approximate 10 year disease-specific mortality rate of cold damage since A.D 196(the first yea of Geonan era) in Jangsa(長沙) province was 47 out of 100 in the population. Regardless of age, gender or other demographic variables, approximate 10 year proportionate mortality ratio since A.D 196(the first yea of Geonan era) in Jangsa province was 70.2%, which lead to the assumption that 70% of death is cold-damage related. 2. Increased disease-specific mortality rate by cold damage in Jangsa(長沙) province for about 10 years since A.D 196(the first yea of Geonan era), and followed increased crude mortality rate in the population, threatened the stability of nation or local government. This is due to the repeated war in late Han Dynasty with political chaos and repeated flood caused by geographical disadvantage in Jangsa province.

• Korean Journal of Fisheries and Aquatic Sciences
• /
• v.18 no.2
• /
• pp.180-194
• /
• 1985

The author investigated the history of oyster culture in Korea through examining old books and reports dealing with the fishery. Oysters have been produced in the all coastal areas in Korea, especially the center areas of production were the Hwangupo (Hamkyongbuk-do), Younghungman (Hamkyongnam-do), the estuary of Nakdonggang (Kyongsangnam-do), Kwangyangman, Haechangman, the estuary of Yongsangang (Chollanam-do), Yonghoto (Hwanghae-do) and the estuary of Uprockgang, where the large size oyster (more than 40cm in shell height) inhabited in form of groups. It was called by nine different names in the old times, Gul, Seukhwa and Moryeo were the most common names. The oyster was used as 46 kinds of medicinal stuff. The habitat forms of natural oyster can be distinguished to two types; one is that oyster is exposed to the air during the period of low tide (A-type), another is that oyster is not (B-type). The first oyster culture by the old books in Korea was started about 530 years ago as the bottom culture method derived from the A-type of oyster. After long years, the hanging culture method might have been started from the hint of the habitat form of B-type. The oyster culture in Korea developed based on the habitat forms of natural oyster at the biginning of 1900s. After World War II, the Korean government strongly recommded the laver farmers to culture oyster as relief measures. At that time, the stone culture method was mainly adopted. The quantity of oyster production is now about $15{\times}10^6{\sim}19{\times}10^6\;\frac{M}{T}$, and the half of oyster production including seed oyster is exported to the foreign countries.