• Fashion & Textile Research Journal
• /
• v.6 no.3
• /
• pp.297-306
• /
• 2004

Mehndi, becoming a kind of body fashion in western advanced countries nowadays, is a exquisite, classical fashion form sublimated to traditional faith, medicine and designing art. As one of the cultural arts, especially transmitted by women, a individual tradition of the way how to do the mehndi and the design has been handed down from one culture to another over a thousand of years and it is extensively using in many area, all around world today. Mehndi was used as preparing for special events or celebrations in India, Africa, Central Asia in order to pray for happiness, good luck and calm hart 5000 years ago. Especially, it is concerned with romantic love or a wedding and takes important part of a traditional wedding reception and bride adorning in the culture of Hindu or Islam. In addition to adorning skin, mehndi has various symbols, meaning, function, that is, as a speechless language, in several cultures, it has common meaning such as attraction, protection, celebration. The design of mehndi has been in harmony with the figure, colors, skin types of the dress or the ornament. According to the region, religion, design, mehndi is divided into the design of India and Morocco mostly. Indian design mainly shows flowers and paisley pattern, people widely recognize this design to celebrate and adorn bride in wedding ceremony, still apply mehndi the present time. Moroccan mehndi design, representing North Africa, characterized a bold geometrical figure which stands for belief in living under the protection from supernatural power. Through the understanding of these various meaning, function, symbolism of the design, adorning their body, the current general public use mehndi as not only aesthetic means but also another self expression.

• The Journal of the Korea Contents Association
• /
• v.16 no.1
• /
• pp.241-255
• /
• 2016

This study aims at examining the making and distribution course of performing arts and its converged form with technology and industry in terms of the Contents Promotion Act. Since the 2000s, the inter-area contents making and sharing methods have been changing the making and distribution structure of performing arts. The recent production of performing arts contents live videos extends the areas of arts creation and communication beyond the time and spatial boundaries of performing arts and changes the existing systems. The performing arts which started with nowness and spatio-temporal restriction on the premise is now creating a new platform over the spatio-temporal boundary through the live video. Performing arts, in convergence with the areas of technology and industries, expands universal approaches and shows the public value of cultural fairness at public performing arts centers. In this context, this study aims at seeking the possible extension of performing arts contents by examining how the so-called high-class performing arts such as opera, theatre and classical music combines with the visual industry.

• Journal of the Korea Furniture Society
• /
• v.17 no.3
• /
• pp.95-111
• /
• 2006

These series articles were written in order to understand rockers of today and to provide basic data of their designs and manufacture studying pattern changes in the West. In the first article of the series reports we already described the theoretical background of rockers and the Windsor and the Boston style among the American classic rockers from the eighteenth to the twentieth century. This article contained the characteristics of the styles of the Shaker rocker, the Wicker rocker, and the Platform rocker. The three periods associated with furnituremaking in the Shaker sect are; the Primitive Era, which lasted from 1790 to 1820; the Classical Era, from 1820 to 1860; and the Final Phase, from 1860 to 1935. The important skills the Shaker needed to make the Shaker rocker are woodturning joinery, seat braid weaving and steam bending for the slats. The Wicker rocker continues to be extremely popular furniture style as the wicker proved equally effective for translating the ornate vine-like motifs popular among Art Nouveau proponents. The Wicker rockers were developed for child's, gentleman's and lady's, and it represents the most diverse forms among the above mentioned styles. However the rocker skates were often clumsy and took up too much room, preventing the chair from being shoved close to the wall and out of the way. These problems were overcome by the Platform rocker. The most important innovation was the technical development of a stationary base, which allowed the chair to rock noiselessly, without skating along the floor. The Modernism of the modern furnitures in America and Europe were affected by the characteristics of the Shaker rocker, the Wicker rocker, and the Platform rocker.

• Journal of the Korean Society of Costume
• /
• v.63 no.6
• /
• pp.1-13
• /
• 2013

The purpose of this study is to examine the trend of plural eclecticism in costumes appearing on the stages of the world's top 4 musicals based on the general researches and establishments made of the mentioned concept. The conclusions of this study are as follows. First, the aspects of eclectics appearing in overall pieces can be defined as situational eclecticism. It can be attributed to the dramatic elements contrasted in the storyline of the musical and occurs in mixture with various situations. Showing combinations of costumes from varying situations at once in the same stage makes the audience feel the dynamic elements of the piece. Second, the aspect of temporal eclecticism, which can be seen in the 'Phantom of the Opera' regarding mixture of crinoline style and art nouveau style, resulted from the partial mixture of classical elements for maximizing visual beauty in the historical pieces. Third, the aspect of spatial eclecticism can be observed in the musical 'Miss Saigon', which used costumes that combined multicultural elements by exposing different spaces and cultures such as America and Vietnam. It eclectically expresses the unique cultures and costumes of each country. Fourth, 'Les Miserables' shows the aspect of situational eclecticism, through its use of mixture of situations in various aspects, and in particular, the male and female costumes that blur the boundaries of life, death, and costume, the mixture of people's costume and aristocrat's costume, and the situational elements where the good and evil are contrasted are integrated eclectically to make the story dramatic.

• Fashion & Textile Research Journal
• /
• v.7 no.5
• /
• pp.472-480
• /
• 2005

It was proved the practical use of the unique traditional Korean paper through the previous researches. The purpose of this study was to suggest the adequate application which is making various applied patterns in the fashion products so as to contribute to textile, fashion, and Korean paper industry. Six kinds of vests with the same fashion material using the Korean traditional paper were manufactured in order to investigate the images of materials in case of wearing them on the actual human bodies. As the results of image assessment for the materials and the factor analysis, 'classical', 'natural', 'Korean traditional', 'rural' and 'luxury' images were presented as the representative image of the Korean traditional paper material. Making repeated patterns of stripes and zigzag by sewing-machine stitches showed the natural effect on Korean traditional paper. Well-matched harmony was shown between holes made by the needle in sewing and slits torn by the tension to the needle and the thread. Especially, transparency by irregular holes formed by artificial frictional washing could shown special formative arts harmoniously with semi-transparency of Korea traditional paper and touch of sewing yarn. After the unripe persimmon dyeing, holes made by the needle became more hard and tight. The changes were no longer shown by the artificial frictional washing and then fixed. As the result of applying the Korean traditional paper fashion materials with various patterns for the basic formed garments, it was shown that the common and simple garments were changed the garments with special formation which could be found on the art garments due to the creative touch and formative arts using the Korea traditional paper fashion material. A variety of formative application by means of the developed samples was suggested to enlarge the practicality. As the result of this study, it was discovered that the possibility and application of fashion goods through the developed samples made of Korean traditional paper.

• Fashion & Textile Research Journal
• /
• v.15 no.5
• /
• pp.682-693
• /
• 2013

Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.

• Journal of the Korean Society of Food Culture
• /
• v.11 no.1
• /
• pp.83-96
• /
• 1996

The purpose of this paper is to examine the various kinds of recipes of pheasant through classical cookbooks written from 1670 to 1943 which are the basic materials to the meat cooking. The recipes of pheasant are found 39 times in the literature, which can be classified into eleven groups. Chronologically, the recipe of mandu (ravioli) was first appeared, and guk, tang (soup), kui (roasted), jang (salted meat), chim (steamed), po (dried meat), whe (raw meat), gijim (boiled in soy sauce), cho (sparkly heated in soy sauce and sugar), jolim (hard boiled in soy sauce), and jungol (meat with vegetable cooked in pan) followed in the records. Kui was the most popular one with the frequency of 43.6%, which proves that kui is the most suitable one for pheasant among all of recipes. Mandu and guk, tang were 10.2%, chim and po were found with the same rate of 7.7% and the next ones were jang, gijim, cho, and jungol with the rate of 2.6%. The recipes of pheasant were recorded much less than those of beef, chicken, pork, lamb, and dog meat. Particularly, in comparison with chicken belonging to fowls, the frequency of pheasant cooking did not reach even to one third of that. The Korean recipes of pheasant have been independently developed with originality, having nothing to do with the Chinese ones. The recipes of pheasant before the late 1800s have based on the strict recipe principles along with the spirit of art and sincerity, but they were deteriorated to simple and easy ones discarding principles. The main ingredient was the flesh of pheasant and the sub-ingredients such as flour, pinenut, buckwheat powder, and mushroom were included in common. In additon, oil, soy sauce, black pepper, and stone leek were frequently used as main seasonings.

• Journal of the Korea Institute of Information and Communication Engineering
• /
• v.25 no.11
• /
• pp.1512-1518
• /
• 2021

Since single cell RNA sequencing provides the expression profiles of individual cells, it provides higher cellular differential resolution than traditional bulk RNA sequencing. Using these single cell RNA sequencing data, clustering analysis is generally conducted to find cell types and understand high level biological processes. In order to effectively process the high-dimensional single cell RNA sequencing data fir the clustering analysis, this paper uses a variational autoencoder to transform a high dimensional data space into a lower dimensional latent space, expecting to produce a latent space that can give more accurate clustering results. By clustering the features in the transformed latent space, we compare the performance of various classical clustering methods for single cell RNA sequencing data. Experimental results demonstrate that the proposed framework outperforms many state-of-the-art methods under various clustering performance metrics.

• Smart Structures and Systems
• /
• v.30 no.6
• /
• pp.601-612
• /
• 2022

The prediction of structural mechanical behaviors is vital important to early perceive the abnormal conditions and avoid the occurrence of disasters. Especially for underground engineering, complex geological conditions make the structure more prone to disasters. Aiming at solving the problems existing in previous studies, such as incomplete consideration factors and can only predict the continuous performance, the deep attention fused temporal convolution network (DATCN) is proposed in this paper to predict the spatial mechanical behaviors of structure, which integrates both the temporal effect and spatial effect and realize the cross-time prediction. The temporal convolution network (TCN) and self-attention mechanism are employed to learn the temporal correlation of each monitoring point and the spatial correlation among different points, respectively. Then, the predicted result obtained from DATCN is compared with that obtained from some classical baselines, including SVR, LR, MLP, and RNNs. Also, the parameters involved in DATCN are discussed to optimize the prediction ability. The prediction result demonstrates that the proposed DATCN model outperforms the state-of-the-art baselines. The prediction accuracy of DATCN model after 24 hours reaches 90 percent. Also, the performance in last 14 hours plays a domain role to predict the short-term behaviors of the structure. As a study case, the proposed model is applied in an underwater shield tunnel to predict the stress variation of concrete segments in space.

• (The) Research of the performance art and culture
• /
• no.38
• /
• pp.143-191
• /
• 2019

This research argues that Pansori had patrons in its development. Patrons are commonly discussed aspect of history of any art form. Pansori is no exception. While Pansori originally began as the art of the common people, Yangban class became the primary audience. This paper examines the role of royal family of Choson dynasty in development of Pansori. Heungseon Daewongun (흥선대원군) in particular was a Pansori aficionado. The record around Daewongun's involvement to Pansori proves that heavy monetary investment was made. He hosted Pansori competitions and sponsored creation of Pansori tradition, Boseong Sori (보성소리) and Gangsanje (강산제). Also the aspect of Pansori patronage lies not just in Yangban class, but also in Jung'in class, which is roughly analoguous to European bourgeois in that they were not of Yangban class, but had gained monetary status, and had aesthetics of both Yangban and commoner class. I argue that Heungseon Daewongun's ties to the Jung'in class is reflected in his actions towards Pansori artists. The traditions he had sponsored have important characteristics, including sophisticated lyrics heavily utilizing Classical Chinese poetry, highly artistic musical composition, and conservative Confucian ethics. Those characteristics indicate that the Pansori traditions sponsored by the royal patrons have changed to cater to their artistic taste and philosophy. This paper conducts a textual comparative analysis between Gangsanje Pansori Jeokbyeokga (강산제 판소리 적벽가), Dongpyeonje's Pansori Jeokbyeokga (동편제 판소리 적벽가), and Seopyeonje Pansori Jeokbyeokga, who share the same plot yet offers a stark differences in tone, philosophy, and sense of humor. Daewongun was a primary sponsor of Pansori, which proves that Yangban class and the royal family have played important role as patrons of Pansori.