• 복식문화연구
• /
• 제12권1호
• /
• pp.28-40
• /
• 2004

The purpose of this study was (1) to identify the experimental bias which could appear person perception as results of development methods (2) to find out the most desirable method in developments of stimulus. The research was a quasi experiment and the subjects were 358 male and female undergraduate students by convenient sampling. The experimental instruments consisted of a set of stimulus and semantic differential scales of 7-point bi-polar adjectives. The collected data were analyzed by Principle Component Analysis, ANOVA(analysis of variance), Scheffe's multiple range test. The independent variables were developing methods of stimulus(live person, photography of real person, 2 kinds of black and white line drawing, 2 kinds of color drawing). The results were as follows. First, five factors which were potency, sociality, appearance, evaluation, activity impressional dimensions emerged to account for the methods of development of stimulus. Second, the methods of development of stimulus had significant effects on potency, sociality, appearance, activity factors. In sociality factors, the impression of photographic stimulus was the closest to the live person's impression. However in the appearance and activity impressions, significant difference existed between live person and other developing stimulus. In the potency impression, black and white line-drawing gave the highest impressional bias. In the sociability and appearance impressions, color-drawing stimulus gave the highest impressional bias. Result: On conclusion the developments of stimulus can effect on stimulus person's impressions and these effects can produce experimental biases, the photographic stimulus gave the least impressional bias. The study shows that photography of real person will produce minimize measurement error.

• Journal of the Korean Wood Science and Technology
• /
• 제26권1호
• /
• pp.51-56
• /
• 1998

The bast fiber of paper bush misumada have been cultivated in south coast bay of the Korean peninsula were not used to handmade painting paper. Therefore, in using the bast fiber of paper bush misumada manufactured handmade painting paper, tested absorption speed, blot characteristics and organic functions. The results are summarized as follows; The handmade painting paper manufacured only the bast fiber of paper bush misumada proper to the absorption speed of China ink, didn't have difference of the length and width for blot. And it was most fitted to east writing-and-painting using. Also the flexibility excell, and light and shade in overpainting directly appeared, and fitted to black-and-white drawing. And the using increase plan of the paper bush misumada demanded.

• 대한소아치과학회지
• /
• 제24권1호
• /
• pp.235-246
• /
• 1997

This study was done as a pilot study to develop a color test measuring children's dental anxiety. The subjects of study were 511 preschool children aged from 3 to 6. Caries experience was examined. Children's drawings of the dentist were collected and analyzed by the method of human figure drawing test modified by Sonnenberg and Venham. Colors of high dental anxiety level were black, brown, purple, red, yellow, pink, green, orange, blue, gray, yellow ochre, and white in that order. Colors of high frequency of use were yellow ochre, green, blue, red, orange, pink, black & purple, yellow, brown, gray, and white in that order. As the age increased, white & gray, yellow ochre, and blue increased and black, purple, and pink decreased. Boys liked green and blue, and girls liked orange and yellow. Filled teeth rate was highest in yellow ochre group and very low in black group. Children who had an educational dental visit before the test used green color more than the rest of children.

• 복식
• /
• 제64권6호
• /
• pp.78-90
• /
• 2014

This paper examines the way that the principles of coloration for Hoecha(繪次) and Sucha(繡次) were applied for shoe making in ancient China and Korea. Hoecha is the principle of drawing, and Sucha is the principle of embroidery. Hoecha and Sucha is the application principle of the five colors(五方色) from the five elements(五行: metal, wood, water, fire, and earth). Hoecha matchs a color with the opposite side color, and Sucha matchs a color with the beside color. A shoe consists of Sinul(body of shoe) and ornaments attached to it. According to the ratings of shoes, Hoecha and Sucha were differently applied for coloration of Sinul and its ornaments. In general, shoes were classified into Seok and Gu. For Seok, which was the high-ranked shoes, Hoecha was applied, while Sucha was applied to Gu, the low ranked shoe. As Hoecha was originally a principle of coloration for patterns on tops(jacket. 上衣), it was applied to the high ranked shoes i.e., Seok. Also, as Sucha was a principle of coloration for patterns on bottoms(skirt. 下裳), it was applied to the low ranked shoes i.e., Gu. Thus, black was decorated on red Seok, blue on white Seok, red on black Seok, yellow on hyeon(玄: a kind of black color) Seok, and white on blue Seok, all of which were applications of the principle of Hoecha. As the application of the principle of Hoecha to Seok was also done for red Seok for males and females in late Joseon, and red Seok for the crown prince in the period of the Korean Empire, black decorations were used for red Sinul. However, for blue Seok, worn by females in the period of the Korean Empire where Ming's systems prevailed, black decorations were used, which was an application of Sucha. Though there had been no discrimination between genders in the application of Hoecha and Sucha originally, the low ranked principle of coloration was applied to Seok for females.

• 한국치위생학회지
• /
• 제6권4호
• /
• pp.339-348
• /
• 2006

The present paper described the relationship between dental anxiety and main colors of elementary student's drawing of dentists. This paper is based on the survey with 555 samples were chosen from a first, second and third grade students of the elementary school located in Chilgok-gun Gyeongsangbuk-do. During the survey, students were asked to picture a dentist by using 12 colors crayon randomly. And the survey result was summarized in three categories. Those are the main color(most frequently used color) distribution in the children's drawings, ratio differences of the main color in terms of gender and the anxiety score for the each color. 1. The order of main colors was blue, white, green, gray, yellow, purple, ocher yellow, orange, pink, red, black and brown from the top to bottom. 2. The main colors distribution in terms of gender, male mostly used green and black compare to female, and female mostly used pink, yellow and white compare to male(p<0.01). 3. The order of the anxiety score for main colors is black, brown, red, yellow, pink, orange, green, white, gray, blue, purple and ocher yellow form the top to bottom(p<0.01).

• 영어영문학
• /
• 제55권5호
• /
• pp.907-936
• /
• 2009

Quite arguably, W. E. B. Du Bois is the first figure in the history of black nationalism who engaged most persistently and systematically with the dominant ideology of racism and white supremacy. It is not too much to say that, by contending with the Eurocentric but taken-for-granted concept of the 'Negro' in the turn of the century, Du bois has laid the theoretical and ideological cornerstone of postcolonialism today. But his concept of race varied over time and was even contradictory in the same writings. The early Du Bois defined race as something historically made rather than biologically given and determined. Yet he didn't utterly deny the significance of physical traits and skin color in constructing racial identity. His notion of the 'Negro' was not unambiguous, either. While drawing on the 'soul' of 'black folk' to undermine the Eurocentric dichotomy of white/mind and black/body, Du Bois argued that there is some kind of 'spiritual' differences between whites and blacks, differences that are essentially inherent and hereditary in the 'Negro.' Such essentialist notion of race and the 'Negro' was on the wane in the later Du Bois, especially after his encounter with Marxism. He came to think of race merely as a discourse of racism that can be subverted and even appropriated for anti-racist practices. Following the Marxist assumption that 'the color line' is a class conflict on the international level, Du Bois contended that the 'Negro' is an outcome of slavery which is in turn a subsystem of Western capitalism. He also argued that, since the 'Negro' is not a biological essence but a sociocultural formation, the identity of the 'Negro' can and must be reconstructed according to historical change. For Du Bois, therefore, the resistance against colonialism and capitalism became a resistance against racism. This is why his Pan-African movement shifted its gear from the American program in the initial phase to a truly 'Afrocentric' and socialist one.

• 헤리티지:역사와 과학
• /
• 제54권4호
• /
• pp.90-111
• /
• 2021

1795년 윤2월 12일 정조가 친림하여 행한 장용영 외영의 군사 훈련을 그린 <서장대야조도>를 중심으로 장용영 하급 군사들의 위치와 역할, 역할별 군복의 구성과 특징을 고찰하였으며 결과는 다음과 같다. <서장대야조도>에서 정조가 자리한 서장대 앞에 2열로 마주보도록 배치된 등롱군·뇌자·순령수·대기수와, 서장대를 둘러싸고 정조를 호위한 군사들은 모두 장용영 소속 하급 군사들이었다. 정조 앞에 배치된[御前前排] 등롱군의 군복은 전립, 흑색 협수, 홍색 괘자, 남색 전대, 백색 제비행전, 흑혜로 고증하였다. 하급 군사들의 협수는 기존 학계에 알려진 관직자들의 무가 있는 협수와는 달리 소창의형 협수일 가능성을 제시하였다. 등롱군은 칼을 차고 손에는 홍사촉롱을 들었다. 뇌자는 신전수와 주장수가 있었다. 왕 앞에 배치된 뇌자의 군복은 주전립, 흑색 협수, 홍색 괘자, 남색 전대, 백색 제비행전, 흑혜로 고증하였다. 뇌자는 칼을 차고 신전기 또는 주장을 들었다. 왕 앞에 배치된 순령수는 순시기수와 영기수가 있었다. 순령수의 군복은 전건, 흑색 협수, 홍색 괘자, 남색 전대, 백색 제비행전, 흑혜로 고증하였다. 순령수는 칼을 차고 홍순시기 또는 홍령기를 들었다. 왕 앞에 배치된 대기수의 군복은 전건, 흑색 협수, 청색 괘자, 남색 전대, 백색 제비행전, 흑혜로 고증하였다. 왕 앞에 배치되는 다른 군사들과 달리 대기수는 정조대에 와서야 왕 앞에 배치됨으로써 괘자의 색상이 청색인 점이 달랐다. 대기수는 칼을 차고 대기치를 들었다. 서장대를 둘러싼 군사들은 전초군과 좌초군이었고, 성곽을 방어하는 군사들은 좌·우·전·후 초군으로 보았다. 초군의 군복은 전립, 흑색 협수, 호의, 남색 전대, 백색 제비행전, 짚신으로 고증하였다. 호의는 방위에 따른 색을 사용하였기에 좌초군은 청색, 우초군은 백색, 전초군은 홍색, 후초군은 흑색이었다. 초군이 소지하는 무기는 조총과 칼이었다. 성정군들은 조총과 칼 외에도 훈련 상황에 따라 횃불이나 등이 달린 기창을 들기도 하였다. 이상의 고증 결과를 반영한 시각화의 기본 원칙은 3D 콘텐츠 제작뿐만 아니라 실물 제작까지 가능하도록 시대와 신분에 적합한 형태·색상·재질 기준을 제안하였다. 역할별 복식 착장도에 무기와 군기(軍器)를 갖춘 앞·옆·뒤 모습으로 표현하고 색상을 RGB와 CMYK로 제안하였다.

• Acta Via Serica
• /
• 제3권1호
• /
• pp.119-138
• /
• 2018

The dragon of the East was an object of worship and an authority to make rain, unlike the West. The dragon image, one of the positively accepted Chinese motifs with the blue-and-white porcelain of the Ming dynasty by the Ottoman Empire in the 16th century, was combined with gigantic saw-edged leaves to create a genre in Saz style. By combining Eastern dragons with plant motifs instead of clouds, dragons were no longer accepted as authority and nobility but as symbols of life and longevity. Unlike Iran and other countries, the image of dragons in Turkish miniature paintings has evolved into a unique style using Turkish calligraphy. The stylistic feature is that a thick black line that gives the impression of calligraphy forms the dragon's back or a huge saz leaf stalk and forms the axis of the screen. Most of the work was black ink drawing, not painting, and partly lightly painted. In the development stage, the dragon appears as a protagonist on the screen of the early works, but the dragon retreats to the latter half and the saz leaves play a leading role on the screen. A common feature in all paintings, whether early or late, is that they have a militant character and create tension on the screen. From the viewpoint of comparative culture, Turkish dragon miniature drawings of the 16thcentury Ottoman period and the Joseon dynasty are somewhat similar in that they are based on calligraphic character and desire for longevity and loyalty, and are drawn according to certain iconic principles.

• 복식
• /
• 제56권3호
• /
• pp.42-56
• /
• 2006

The purpose of this study is to review the literatures and the wall paintings of the ancient tombs of Koguryo in an effort to try to understand the characteristics of the culture of dyeing in Koguryo. The research findings follow: 1. The colors that were in vogue in Koguryo are five cardinal colors (red, blue, white, black, and yellow) and compound colors, like purple and green. Those colors were used in some or all parts of the clothing and even on some parts of the body. 2. Some clothing of Koguryo as shown in the wall paintings were made with a single and solid color by dip dyeing method. But the majority of the clothing had a variety of patterns. Among the patterns, the geometrical dot pattern took the majority. 3. The dyeing techniques used in Koguryo were printing, yarn dyeing, embroidery, wax resist dyeing, drawing and painting. The development of yarn dyeing method, weaving with silk-threads dyed in various colors, enabled to produce Geum fabrics, which were used for the upper classes' clothing. 4. The esthetic features represented in the colors of Koguryo include the beauty of contrast coloring, preference for red, preference for geometrical patterns, and the harmony of yin and yang.

• 한국지하수토양환경학회:학술대회논문집
• /
• 한국지하수토양환경학회 2003년도 총회 및 춘계학술발표회
• /
• pp.97-99
• /
• 2003

Lineament density maps can be used for the quantitative evaluation of relationship between lineaments and groundwater occurrence. There are several kinds of lineament density maps including lineament length density, lineament cross-points density, and lineament counts density maps. This paper reports the usefulness of the representative elementary area (REA) concept for lineament analysis. This concept refers to the area size of the unit circle to calculate the lineament density factors distributed within the circle: length, counts and cross-points counts. The circle is a unit circle that calculates the sum of the lineament length, lineament counts and the number of cross-points within it. The REA is needed to obtain the best representative lineament density map prior to the analysis of relation between lineaments and groundwater well yield or other groundwater characteristics. A basic lineament map for the Yongsangang-Seomjingang watershed of Korea, drawn from aerial black-and-white photographs of 1/20, 000 scale was used for demonstrating the concept. From this study, the conclusions were as follows: (1) the REA concept can be efficiently applied to the lineament density analysis and mapping, (2) for whole Yongsangang-Seomjingang watershed which has 6, 502 lineaments with an average lineament length of 3.3 km, the lower limits of each REA used for drawing the three density maps were about 1.77 $\textrm{km}^2$ (r=750 m) for lineament length density, 7.07 $\textrm{km}^2$ (r=1, 500 m) for lineament counts density, and 4.91 $\textrm{km}^2$ (r=1, 250 m) for lineament cross-points density, respectively, (3) the lineament densities are inversely proportional to the size of REA, and the REA can be calculated with this inversely linear regression model, (4) if the average lineament density values for the whole study area are known, the most accurate density maps can be drawn using the REAs obtained from each linear regression model, and (5) but critical attention should be paid to draw lineament counts density and lineament cross-points density maps because.