• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.61-92
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• 2019

We attempted to find the style of flower arrangement from the drawings of Uigwe and paintings of folding screens for the royal ceremonies of the late Joseon dynasty. In the pictures of the Uigwe and folding screens, we could see the linear, circular, and oval types Junhwa used to decorate the left and right sides of the throne placed in the center of main parish at the national banquet. There were also identified the Sanghwa which was used to decorate food on it, Jamhwa which was used to decorate head to be worn on the caps or hats, and Hwaga which was used to decorate the style supporting the large awnings at the national banquet. Hwaga was found, in the Musin Jinchan Dobyeong. In 1795, it was found that decorations on the floor, which are quite similar to the table decorations and modern space decorations, and flower shoot presented by king and flower decorations which were bound to the stick which was presented by king to country old men from Wonhaeng Eulmyo Jeongri Uigwe and Hwaseong Reunghaengdobyeong

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.15-27
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• 2015

This study is the first research that examines the fashion manufacturers and merchants of the late 18th century France. Fashion specialists, (known as) Marchande de modes, started to appear in literature in the mid 18thcenturyandthe profession was officially recognized by the guild system in 1776. Rose Bertin was elected as the first representative. At the same time, there were two types of fashion specialists, tailleur and couturi${\grave{e}}$re. Tailleur had monopolized the production of the bodice and the skirt, which were the most important female dress parts. On the contrary, couturi${\grave{e}}$re only had the right to make petticoats, but they were not allowed to decorate it. In 1781, the couturi${\grave{e}}$re obtained the right to make and decorate the other parts of the dress, and this resulted in the two groups fighting over the rights to make dresses. And during this struggle, the Marchand de modes started to appear as a new occupation. Marchande de modes were privileged fashion merchants making or selling trimmings for dress and coiffure, and had authority to make capes and bonnets. Contemporary critics praised their talents for creating innovative and beautiful fashion styles, while some criticized them as women who just made luxury items. These records revealed how marchande de modes were viewed during that time.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.458-484
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• 2001

The costume originated from the idea that it could protect human beings from ferocious beasts. The military costume was from protection against an enemy equipped with weapons. Furthermore, the makers of the costume were afraid of supernatural powers and it made them devise an armour and decorate it by the concept of superstition for the purpose of overcoming it. The function of military uniform was important for increasing the protection against any enemies while they join in battle. However in harmonious time, it represented artwork of peace, dignity, and order. Since the uniform was a king of symbol to show their position, and their role. They could feel proud as a member of a military group they belong to and they gain honor, courage, patriotic sentiment through their military costume. The purpose of this study was to investigate the originality the military costume as it changed and developed continuously from ancient Egypt, Greece and Rome to modern times. This study was performed to show the comparison and characteristic marks of the past, and the influence of them on the modern military uniform. The method used in this study was using past manuscripts of the early times, information attained from domestic and foreign military documents and previously written reports. As a result, the military costume was one of many means of expression of their natural and social environment. It can be said that the most epoche-marking and powerful changes to the social environment are revolution or war. War absolutely has influenced on the changes of the changes of costume and the military armour according to the type of war and the development of weapons. Especially using the amour, the main purpose that of protecting the body has changed into distinguishing our forces from the enemy and instilling fear into enemy, Furthermore, the class who has the power has used it in order to express their power and dignity. Therefore, armour had required two rules to not only protect the body but also discriminating between classes.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.9
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• pp.129-140
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• 2018

The purpose of this study was to reconsider existing hypotheses on the orinination and changes of changbang-anchogongs and their types and suggest an alternative hypothesis. The earliest changbang-anchogongs in $17^{th}$ century is presumed to originate as imitations of chungbang ppaelmoks for ornamental and reinforcing parts for changbangs. They were framed whole sides of buildings equally, and were used in small numbers of extant royal buildings and Buddhist halls. From late $17^{th}$ century, enlarged dragon shape changbang-anchogongs applied to Buddhist halls maily to decorate and strengthen front side of buildings. As a result of exchange between changbang-anchogongs and Ikgong type brackets, combined changbang-anchogongs in Buddhist halls were invented for stronger connection with upper bracketing units and have been spread during $18^{th}$ century. Danpyeongbang anchogongs were originated by the connection between short pieces of pyeongbangs and early type of anchogongs similar to ppaelmoks. They belong to minority subtype, but were drawn in illustrations by mistake, as parts of main halls of royal palaces from $19^{th}$ century, because of painter's confusion about new techniques for changbang-anchogongs. Combined changbang-anchogongs for royal buildings were presumed to be invented in 1790s by stimulation from a Buddhist hall related to royal tomb. However, unlike Buddhist precedence, they were used to reinforce and decorate whole sides, even corners, of buildings, and their frameworks and shapes were imported from Daeryang-anchogongs at flanks of ritual halls in royal tombs and royal shrines from $17^{th}$ century.

• Fashion & Textile Research Journal
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• v.7 no.4
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• pp.394-400
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• 2005

The purpose of this study is to investigate historical background which uses and characteristics of Korean traditional incense and how to use it in clothes. Incense was at first introduced to Korea in the period of King Nulji of Shilla dynasty. First introduction to this nation, incense was already regarded as divine. It was then developed with five main uses, tribute, fragrance, purification, anti bacteria, and cure. Incense used by fragrance and anti-bacteria in clothes. It make emit a fragrance from the clothes or decorate clothes with ornaments. Incense was also to prevent clothes or books from being damaged by insects and maintain them over a long period. It used one of the factor for beauty of costume.

• KOREAN JOURNAL OF PACKAGING SCIENCE & TECHNOLOGY
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• v.6 no.1
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• pp.19-23
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• 2000

The increasing use of plastics in food packaging materials has led to the issue of food-packaging mutual interactions from residues in the plastics. Plastic films are commonly printed by using solvent-based ink to decorate the packaged food for consumer attention. However, the residual solvents can not be completely removed and they can migrate into the contained food which lead to undesirable off-flavors. Partitioning (Kp) of printing ink solvents was studied in two types of plastic films with different chemical structure and polarity. At $25^{\circ}C$, Kp of toluene is higher than that of isopropanol in PP, but isopropanol showed higher Kp value than toluene in EVOH. This showed that polarity had a significant effect on the partitioning of printing ink solvents into the plastic films. Printing solvents had a higher affinity to the polymer with similar polarity than it did to the different one.

• Korean Institute of Interior Design Journal
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• no.17
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• pp.157-165
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• 1998

This study aimed to identify characteristics of design and decoration of Danish peasant furniture especially painted storage furniture used during the 18-19th century before modern design movement of Internationalism prevailed all over the world. Owing to the fact that Danish peasant furniture were made of available conifer around the farms painting method was preferred to carving. Remoted from main land of western and southern Europe Scandinavian countries longed to imitate their Baroque style architecture and furniture made of marble of hard woods. Painting method was adopted to disguise cheap wood so that it looked like expensive or exotic materials such as marble oak metal granite etc. what they could not afford to buy. Eventually they evolved unique materials equipments and methods for imitation painting in order to decorate folk storage furnitures as well as formal architecture : palaces churches and other official buildings,. Marbling clouds marbling graining stencil spatter painting trompe-I'oeil were common to imitate stones or hard woods. Strong and bright colors had good combination together with dull colors on the Danish peasant painted furniture.

• Korean Institute of Interior Design Journal
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• no.19
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• pp.98-104
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• 1999

The literal Meaning of Art Nouveau is 'New Art'. It means that Art Nouveau was conceived momentous sense of transition in the close of 19C and found the way to overcome that situatiov. So, This Study aims to discover the Meaning and Characteristic of Art Nouveau through it's Linear form. Through this study, linear form of Art Nouveau served not merely to decorate building, but to liberate space. With linear forms, Art Nouveau artists synthesize all exterior and interior elements - from doors and windows to carpets and furnishings - by one's emotional rhythm and occasionally change the feel of space that adorned with another style. First, of all, linear form is a method for 'Art for Art sake', and the possibility of linear form does not disappear.

• 한국신재생에너지학회:학술대회논문집
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• 2009.06a
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• pp.99-102
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• 2009

$TiO_2$ nanotube arraysdecorated with ${\alpha}-Fe_2O_3$ were prepared by forming a nanotube-like $TiO_2$ film on a Ti sheet using an anodization process, followed by electrochemical deposition treatment to decorate hematite (${\alpha}-Fe_2O_3$) nanoparticles on the $TiO_2$ nanotube arrays. The SEM and XRD results revealed that the ${\alpha}-Fe_2O_3$ nanoparticles were homogeneously embedded on the surface of the $TiO_2$ nanotube arrays. The activity of hydrogen production by photocatalytic water decomposition for the ${\alpha}-Fe_2O_3/TiO_2$ nanotube array composite was examined under visible light irradiation.

• Journal of the Korean Institute of Rural Architecture
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• v.7 no.1
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• pp.73-87
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• 2005

The purpose of this study is aimed at grasping the architectural characteristics of modern buildings in Gangneung from 1910's to 1970's. The results are as follows. 1) The commercial buildings are mostly unsymmetrical flat type and others except commercial buildings are mostly symmetrical flat type. 2)Up until the 1940's, staircases were located inner of building between the first and the second floor, however after the 1950's, they were separately located in one side of the building to ensure perpendicularly more space and easier mobility than before. 3)Windows were widely used in order to avoid monotonous wall elevation after 1950' s. 4)Striped decorations were put to use to decorate the front elevation of building. 5)Parapet which had decorative stripes to the top was generally used to hide roof.