• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.63-72
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• 2012

In this study, Characteristics of colors on Chinese traditional costume in Tang, Song, Yuan, Ming, and Qing Dynasty were compared. And general colors of Chinese traditional costume and the viewpoint of them were considered. The purpose of this study were to apt colors of Chinese traditional costumes to the sensory appetite of modern people for new things, and make the recreation inspired by new senses be applied into the fashion industry effectively. The results were as followed : Firstly, colors distribution of 5 dynasties were different. In the Tang, R(red) was highest, YR(yellow red) and Y(yellow) followed. In the Song, YR was highest, Y and R followed and PB(purple blue) was increased, In the Yuan, R, YR, PB, B were concentrated at low rates, and other colors were increased, In the Ming, Y, R and B were concentrated at low rates orderly, and other colors were increased, In the Qing, PB was highest and Y, R, YR, B, P(purple) were increased. Secondly, tons distribution of 5 dynasties were different. In the Tang, L(light) was highest, P(pale) and Lgr(light grayish) followed. In the Song, P(pale) was highest, Lgr, Gr(grayish) and Dl(dull) followed In the Yuan, Dp(deep) was highest, P and Lgr followed, and other tones were increased, In the Ming, S(strong) was highest, DI and V(vivid) followed. Thirdly, The general colors of 5 dynasty were R, YR, Y, B, PB colors with vivid, deep and light tones. Forth, the viewpoint of color on Chinese traditional costume was based on the Yin-Yang and the Five Elements theory. Based on results of this study, the successive researches will be carried out about the unique colors of each nation and application traditional colors to modern fashion industry in order to the unique cultural sense.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.1
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• pp.19-32
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• 2014

The Taekwondo uniform has remained consistent since it was officially designed in a V-neck form in 1976. Taekwondo is a martial art that emphasizes social etiquette; therefore, it is necessary to dress in a uniform that reflects Korean traditions and ancient oriental philosophy. However, the current official uniform has limitations in endowing traditionality and many usability problems. Thus, recognizing the problems raised with the uniform, the Kukkiwon (World Taekwondo Headquarters) developed a new style official uniform in 2011. This study is to endow traditional meaning to a new style uniform and proposes some design modifications that can convey a more traditional adequacy. The development of the new official uniform began with a specific plan for change from the existing uniform, this study as subsequent work is significant in that its endowment of symbolism and modification proposal is for the actual execution and global dissemination of traditional Taekwondo culture. The results of this study are as follows. First, we can endow Korea's traditional historicity and symbolism to the new uniform in form and colors. All contents of the design (in which the front side is open, the top is adjusted rightward, the rear length is shorter than the front length, comfort provided by side vents, dual collars for children's uniforms, and a belt) are adapted from the Korean traditional costume. Consequently, historicity can be endowed to the uniform. It is also confirmed that the traditional oriental philosophy including heaven and earth (天地), Yin-Yang (陰陽), and Five Elements (五行) can be endowed in the use of colors. Second, in order to project deeper historicity and symbolism to the form of the new uniform, this study proposes design modifications based on the selection as an item of Simui (深衣), a type of traditional clothing that contains a high symbolism similar to the Taekwondo uniform. It proposes giving shape to the practice of manners, the righteous life, and the straightforward mind by modifying the design of the uniform in the fish belly part of the sleeves, collars, back stitches, and side seams.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.3
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• pp.357-370
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• 2013

The Republican Period of China (1912 to 1949) was when the archetypes of thought (constituting contemporary China) engaged in heated rivalry and were directly influenced by Korea through frequent exchanges. This study analyzes the characteristic of Chinese women's aesthetics towards the human body with a focus on visual materials (such as articles and illustrations concerning hairstyle, makeup, skincare, fashion, and gymnastics) featured in the Chinese women magazines of Fun$\ddot{u}$zazhi (婦女雜誌) and Linglong (玲瓏). This study analyzes these magazines and compares them with Korean counterparts. The movement of the developed and controlled human body was a common characteristic of this period; however, compared to the Chinese, the Japanese colonial period of Korea resulted in an introspective self-examination through excessively objectified eyes. Dress and adornment as the symbol of a new civilization acted as the most remarkable signifier. The overlapping of a western image with a Japanese image led to more resistance in Korea. The criterion for the value of a women's external appearance (that traditionally dualized womanly virtues) collapsed and dress was accepted as an expression of individuality instead of as a social class. The human body was traditionally recognized as a microcosm of the universe that dominated the natural principle of Yin-Yang and the Five Elements. However, the ideal human body was postulated and the aesthetic consciousness of the body changed into an imaginary view of the human body that proceeded to keep the body fit for and gave birth to the concept of supplementing the deficiency of the beauty of the human body with dress and makeup.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.63-73
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• 2014

This study was intended to analyze the correlation between the builder's intentions and the colors that are revealed through the analysis of the manifestation of symbolic colors as the signs and symbols that are shown in the traditional space of Soshaewon as one of the representative retreating villa gardens of Chosun Dynasty and the interpretation of the meanings. The research on the traditional colors and the intended background of Soshaewon and so on was conducted by examining the relative literature and the contents as the objects for the empirical analysis were the scenic beauties and spatial elemnts that are shown in the plan of Soshewon and the poems about Soshewon 48 scenes as well as the contents of the poems related to Five Primary Colors that are used based on "the Ideology of Five Elements of the Positive and Negative". Espectially, this study was conducted by dividing the spatial elements shown in Soswaewon broadly into the visual, synesthetic and symbolic & cognitive spaces in order to classify the locations and directions of the spaces and natural objects as the visual space, the seasons, the points of times and the five sensory organs as the synesthetic space and the "Four Moral Begginings" & the "Seven Emotions" of New Confucianism as the symbolic and cognitive space and by analyzing if there are any correlation between the decided intentions and the spatial meanings that are revealed by analyzing the system of five primary colors which are used in each spatial element.7) As a result from the analysis of the colors that are used based on the three spatial components of Soshaewon, it was found that one of Five Primary Colors were used 74 times in total. First, in the visual spatial component, one of the colors was used 18 times in total including 2 times of blue, 1 time of red, 6 times of yellow, 4 times of white and 5 times of black. The fact that yellow symbolizing the source of everything and white symoblizing cleanness and pureness are used relatively more often than blue and red symbolizing nature and life respectively can be interpreted that the builder, Mr. San-bo Yang's intention to build Soshaewon is related to the meaning symbolizing the pure will of the builder who wanted to seclude himself from society rather than to give priority to enjoying nature. Second, in the synesthetic spatial component which are selected from the 48 scenes of Soshaewon, one of Five Primary Colors was used 38 times in total including 11 times of blue, 8 times of red, 4 times of yellow, 5 times of white and 10 times of black. Since blue and red symbolizing nature and life respectively are used more often than yellow and black symbolizing the source of the world and pureness & knowledge respectively, it was interpreted that the builder means to be faithful to the unique basic functions of the retreating villa with which the builder wanted to enjoy his passion for enjoying nature and exploring knowledge even though the builder built the villa garden for the purpose of keeping himself pure while being unstained by the world. Finally, it was analyzed that one of Five Primary Colors was used 18 times in total including 4 times of blue, 5 times of red and 9 times of white in the symbolic and cognitive spatial components of the 48 scenes. Since it was found that white symbolizing the builder's political pureness is used at the same frequency as blue and red symbolizing nature and life respectively are used as a result from the analysis, it was interpreted that the intention of creating Soshaewon was emotionally revealed at the same percentage in the aspects of his political pureness and enjoyment of nature through his poems. Especially, as a result from such 3 kinds of analyses regarding to the frequency of using Five Primary Colors, it was found that the number of times using Five Primary Colors in the synesthetic spatial component was 38 as the highest percentage, around 51% followed by each 18 times as the24.5% respectively in the visual and cognitive & symbolic spatial spaces. Based on such results, it can be interpreted that the builder, Mr. San-bo Yang's intention of creating Soshaewon sympolizes that his intention for enjoying the basic nature and the vitality of nature within the retreating villa garden is hidden at the same proportion as his intention for keeping himself pure from the unrightful world. It was intended to reveal the traditional colors which are hidden in a traditional retreating villa by analyzing the correlation between the symbolic meanings and the spatial components of Soshaewon based on the Five Primary Colors which are originated from the "Ideology of the Five Natural Elements of the Positive and Negative", but it is thought that it is possible to explore whether such a theory can be generally applied to other kinds of retreating villa gardens or not through a study on other retreating villa gardens as other examples in which the builder's apparent pure intentions, such as enjoyment of nature and persuit of study, etc., unlike Soshaewon are hidden.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.34-47
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• 2008

Recently, as popular interest in costumes in Korean films and TV dramas has increased, traditional dress in works has re-evaluated with modern perspective of the Western color system. The results of this study can be summarized as follows. First, the traditional dress for women appeared in works after the 2000s has shown features similar in the use of red has appeared high. The high frequency of brown and pink, orange and purple used main colors in Western works. Also, what is the most prominent is the high frequency of use of achromatic colors. Second, the color harmonies of the East and the West have been done through color arrangement. The structure with more than 2-colors has been gradually changing into single or 2-colors, which give simple images to people. Third, in order to portray characters' diverse and psychological situations, Korean works have expressed the symbolisms of colors from the Western perspective. Though red symbolizes theory of Yin-Yang and Five-Elements, passion and authority since 2000 have used red to make main images. Also, pink is used as softness and pure images. Though works before the 2000s showed low frequency of the brown. The achromatic color that it has been applied to various parts. Recently black has been developing into a color symbolizing themes. Given the results from this study, it could be expected in future that the categories of color domains will be gradually extended as it is a trend for the traditional dress to escape from primary colors. On the other hand, achromatic colors that minimal and modern sensibility as well as basic color in fashion, especially the black, will increasingly extend ranges of utility or show a tendency of resolute changes.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.1-17
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• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.

• Journal of Korean Philosophical Society
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• v.105
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• pp.243-268
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• 2008

Wang-ch'ung(왕충) negated the theory of efficacy between the Heaven and a Man(천인감응) based on Yin Yang(음양) and Five Elements(오행) that was popular at that time. The Heaven is just solid one without a mouth and ears. The order of nature is circling in its own way regardless of the will of human being. Jung classified psychological types of the human being into the introversion and extroversion. From this point of view, Wang-ch'ung(왕충) is belong to extroversion philosophy. He criticized modern society by using effect and evidence, and expressed it as critical moral philosophy and political ideal.

• The Journal of Korean Medical History
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• v.30 no.1
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• pp.11-22
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• 2017

This paper is a study on the life and clinical reasoning of Kim Goo Young (1958-2014). Offering a new perspective through his interpretation of Donguibogam (東醫寶鑑), Kim introduced his unique theory of Korean medicine, 'The Theory of Byeongin (病因論)'. Kim recognized the confusing situation of communication between people studying Korean medicine and tried to make a new standard based on the principle that many people can share. 'The Theory of Byeongin' offers a newly constituted "Donguibogam" focusing on 'Byeongin' (病因, pathologic origin) which can be translated as the cause of a disease. In so doing Kim recognized 'Byeongin' as the most important factor in 'Byeonjeung' (辨證, classifying the origin), or the classification method of symptoms. In addition, Kim recognized how 'Byeongin' was considered to be a diseased lifestyle, and tried interpreting. The patient's lifestyle to treat diseases. As a result, 'The Theory of Byeongin' is a theory consisting of an intuitive structure, reducing notable elements like Yin Yang Five Movement theory. The theory's significant characteristic is its easy application in clinical settings due the established core principles which are based on Kim's insight and clinical experience. This study contributes to the understanding of the theoretical and clinical development of Korean medicine through deeper studies on 'The Theory of Byeongin' and Kim's medical theory.

• Journal of Pharmacopuncture
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• v.18 no.4
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• pp.26-31
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• 2015

Objectives: This study used semiology based on traditional Chinese medicine (TCM) to investigate vital energy (Qi) behavior in women with abdominal myofascial pain syndrome (AMPS). Methods: Fifty women diagnosed with chronic pelvic pain (CPP) secondary to AMPS were evaluated by using a questionnaire based on the theories of "yin-yang," "zang-fu", and "five elements". We assessed the following aspects of the illness: symptomatology; specific location of myofascial trigger points (MTrPs); onset, cause, duration and frequency of symptoms; and patient and family history. The patients tongues, lips, skin colors, and tones of speech were examined. Patients were questioned on various aspects related to breathing, sweating, sleep quality, emotions, and preferences related to color, food, flavors, and weather or seasons. Thirst, gastrointestinal dysfunction, excreta (feces and urine), menstrual cycle, the five senses, and characteristic pain symptoms related to headache, musculoskeletal pain, abdomen, and chest were also investigated. Results: Patients were between 22 and 56 years old, and most were married (78%), possessed a elementary school (66%), and had one or two children (76%). The mean body mass index and body fat were 26.86 kg/cm2 (range: 17.7 - 39.0) and 32.4% (range: 10.7 - 45.7), respectively. A large majority of women (96%) exhibited alterations in the kidney meridian, and 98% had an altered gallbladder meridian. We observed major changes in the kidney and the gallbladder Qi meridians in 76% and 62% of patients, respectively. Five of the twelve meridians analyzed exhibited Qi patterns similar to pelvic innervation Qi and meridians, indicating that the paths of some of these meridians were directly related to innervation of the pelvic floor and abdominal region. Conclusion: The women in this study showed changes in the behavior of the energy meridians, and the paths of some of the meridians were directly related to innervation of the pelvic floor and abdominal region.

• Journal of Physiology & Pathology in Korean Medicine
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• v.19 no.5
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• pp.1181-1190
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• 2005

After study about the shapes of Jung, Gi, Sin, Hyul-kwa advocated by Master Jisan, the conclusions are drawn as follows. It pursues the rules of universe being changed from formless to concrete objects that the Body Essence, Vital energy, Mentality, and Blood are materialized to Jung, GE, Sin, Hyul-kwa. It can be drawn an inference from the next three theories that Jisan considered Jung, Gi, Sin, Hyul-kwa as round, square, reverse triangle, and triangle or oval shape. First, it was taken to following the shapes of viscera. Namely Jung-kwa was taken as Kidney, Gi-kwa as Lung, Sin-kwa as Heart, Hyul-kwa as Liver. Second, it was adopted from five kinds of constitutions according to the five elements in [Yeongchu Yin and Yang twenty five shapes] that is Jung-kwa is purchased with Water-earth phases, Gi-kwa with metal phase Sin-kwa with fire phase, Hyul-kwa with Wood phase, Third, it is taken in order to eliminate contradictions. Hyul-kwa disliking to move is assumed to round shape to easily move. Gi-kwa tending to disperse is chosen to square in order to be unmoved. Sin-kwa declining to stagnate of seven emotions is pursued to reverse triangle to compose oneself. Hyul-kwa inclining to gather is preferred to acreage phase to harmonize ascending tendency. Among shapes which Jisan was divided Hado, Nakseo, Bokhee pal kwoe, Moonwang pal kwoe, Jung-kwa as round is Hado, Gi-kwa as square is Nakseo, Sin-kwa as reverse triangle is Bokhee pal kwoe order shape, Hyul-kwa as acreage phase or oval shape is accord with Moonwang pal kwoe order shape. The reason being classified into Jung, GE, Sin, Hyul-kwa from the shapes of the face is that the face is the place to reflect the whole conditions of the body connected with all of the viscera and meridian system such as semen of plants. Above contents are drawn an inference from the transcription of Jisan's lectures and his writings. And it is considered that insufficient parts of the Jisan's theory must be demonstrated continuously.