• 복식
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• 제59권10호
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• pp.10-21
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• 2009

The shape of floral pattern in the period of Rococo are a pots, a flower and ribbon style, a flower and a stripe style, a lace style and a scene style etc, and also in that time an apperance of softness of curved line, delicacy and smoth line, irregular and unrestraint line, motive of tiny and extra ordinarily, little bunch of flowers, and stripe style was a feature. The style of presentation were a presentation of fixed style such effect as lace, and a presentation of realistically style emphasized a massiveness and a cubic effect, and also used a natural color, and the presentation of abstract expressed like imagined anything and fancied. Weaving expressed delicate, brilliant, fantastic, and an atmosphere with elegant. embroidery was expressed in creation with emphasized in reality. Printing was fantastic with exotic in development of chintz due to effection of orient. The based on a salon civilization, the refind beauty of taste of royalty gave a refinded feeling with over affectionate in preference with a softness of curved line, and a motive of tiny and extra ordinarily. The classical beauty of elegant was realistic in being concentrated on building up blance and homony. The natural beauty of romantic was in being devoted the theme with soft and fantastic.

• 복식
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• 제58권7호
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• pp.151-163
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• 2008

This study was undertaken to design Ginyeo's character and costume in the early-middle Goryeo Dynasty which had a few relics, and to make practical cultural contents. The famous Goryeo Ginyeos who had real names are costume characters. Goryeo women dressed in delicate white ramie jarket in "Goryeo-dokyung", and the shape of Jacket can be two kinds: long-wide jacket enough to tie a belt, and long caftan cover the knee. Goryeo women enjoyed wide yellow skirt, but Ginyeo in "Dongguk-isanggutjip" put on pink, flower, pomegranate, red skirt for high class ladies. In the case of Mong-su(a head cloth with black gauze train), it is thought that Ginyeo fold up train like lower class or just hang down like ordinary women, because of their status. As underwear, a ramie jacket and wide underpants were set up. It is needed that many Golden bells and jade trinkets must be attached to Goryeo Ginyeo's waist to stress their characteristics. Ginyeo's hair style can be designed so that a bunch of right hair was dropped down and the rest hair was rolled on reft shoulder. To design a Ginyeo's costume chatacter of the early-middle Goryeo, the richness of wide skirt, delicacy of white ramie, a great deal of trinkets must be emphasized correctly as a characteristic of Goryeo women's costume in that period.

• 한국식품조리과학회지
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• 제8권1호
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• pp.1-7
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• 1992

Recently, plenty of imported Chinese Mungbean is sold, for Korean Mungbean is expensive. But they say, Chinese Mungean has less delicacy and cooking quality. Above all, in comparison with Korean and Chinese Mungbeans properties they are different - Chinese Mungbean grain is twice in dimension, Chinese Mungbean is white and Korean one is yellow in peeled grain color. They are similar in size shape with the microscope. With Amylograph of Brabender the viscosity of Korean Mungbean is gradually and continually increased until heating from $25^{\circ}C$ to $92.5^{\circ}C$ and cooling to $25^{\circ}C$ again, but the one of Chines Mungbean is increased suddenly in 74$^{\circ}C$ and shows the abrupt break-down phenomenon. This same phenomenon is shown in swelling with melting-pointer, In $25^{\circ}C$, the cooling temperature, Chinese Mungbean is measured to 1400 B.U and Korean one 1600 B.U. With color-meter of Richard S. Hunter, 12% gel of Korean Mungbean starch is clear but Chinese one white. The texture of 12% gel of Chinese Mungbean starch with Rheo-meter becomes hardened much more than Korea one. As a result of sensory-test, color, cohesiveness, and flavors of Korean gel is preferred overwhelmingly.

• 한국생활과학회지
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• 제18권3호
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• pp.557-570
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• 2009

The purpose of this study is to examine the effects of teachers' creative personality and self-efficacy on their role for young children's creativity improvement. The subjects were 269 teachers who were working at the public or private kindergartens. Measurements consisted of teachers' creativity personality(Park & You, 2000), self-efficacy(Lim, 1999), and teachers' role for young children's creativity improvement(Guliford, 1956). The data were analyzed by t-test, ANOVA, Duncan's post-analysis, Pearson's correlation, hierarchical regression using SPSS 11.0 Program. The results of this research are as follows: first, teachers' creativity personality, teacher's self-efficacy on self-regulation, and the teacher's role for children's creativity improvement had significant differences according to teachers' general background. Second, it appeared that teacher's creativity personality and self-efficacy meaningfully influenced the teacher's role for children's creativity improvement. Teacher's curiosity, and self-efficacy on self-regulation affects teacher's role in improving children's immersion/ durability, flexibility and delicacy.

• 복식
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• 제55권2호
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• pp.129-142
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• 2005

As more our society express their interests in strong and independent women on the onset of the 21st century when source of power shifts to knowledge and information, women with economic power are increasing in number, which is because demands for delicacy and objective Judgment known as unique qualities of woman who was deemed to be inferior to man in the past century are now in the rise in many professional sectors. The shift in public awareness of female image and capability is also being manifested recently by a new fashion style named New Women Power Dressing. Comparing the so-called new power dressing style with the female yuppie fashion of the 80s known to have marked the beginning of female power dressing, this study aims to define the uniqueness of women power dressing style of today, reanalyze the fashion style of today in reference to its predecessors and predict new fashion trend for the futurr. As a conclusion, both of the female yuppie style of the 80s and the new power dressing trend of the 2000s were found to stress manliness and showoff. Such characteristics were expressed in terms of focuses on both fitness and fashion style. However, the female yuppie look of the 80s and its successor of the 2000s showed significant difference in what they were intended to signify internally and how they were displayed externally.

• 보존과학회지
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• 제34권3호
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• pp.235-244
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• 2018

석조문화재는 '석재'로 만들어진 문화재로 조성 목적에 따라서 여러 형태를 빌리고 있다. 그 중에서 석탑(승탑 포함)과 석불(마애불 포함)이 가장 많으며 문화사적 및 과학기술적 측면에서 가장 중요하다고 판단된다. 문화사적인 것과 과학기술적인 특징은 왜? = why? 그리고 어떻게? = how?의 관계로 나타낼 수 있다. 전자는 이유, 원인 등으로 철학적인 면을, 그리고 후자는 방법론적인 면을 의미한다. '왜?' 그들은 석탑과 석불을 제작하였으며 '어떻게' 그것들을 조성할 수 있었을까? 이와 같이, 석조문화재는 대부분 (1) 정치-사회적, (2) 종교적, 그리고 (3) 문화사적 배경에 따라 형태적 측면의 영향을 받는다. 그러므로 문화재가 조성된 배경을 종합적으로 조사 및 분석하여 석조문화재 보존처리를 위한 원칙과 방법론에 대해 기술하고자 한다.

• 한국콘텐츠학회논문지
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• 제10권11호
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• pp.113-124
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• 2010

북한 애니메이션에 대한 연구는 아직 빈약하며, 특히 기법이나 스타일에 대한 연구는 이뤄지지 않았다. 그래서 본 연구에서는 북한 인형영화의 캐릭터 디자인에 주목하되 북한 인형영화가 양적인 면과 조형의 질적인 면이 눈에 띄게 향상된 1985년경을 중심으로 살펴보았다. 남한과는 달리 북한에서는 애니메이션 제작 초창기부터 인형 영화에 대해 국가적으로 꾸준한 지원이 있었고, 인형영화의 전통이 강한 유럽의 사회주의 국가들과 활발한 교류를 했기 때문에 북한의 인형 영화는 지속적으로 발전할 수 있었으며 1985년부터는 매 해 꾸준히 제작되었다. 1985년에 제작된 캐릭터 디자인에는 구조적인 특징과 표현상의 특징을 확인할 수 있는데, 구조적으로는 철제골격을 사용하여 실험적인 형태와 정확한 관절의 움직임이 가능했고, 표현적으로는 조선화기법을 캐릭터 디자인에 적용하여 북한 인형영화 캐릭터 디자인에 간결함과 명확함, 섬세함이라는 나름의 미학을 정립했다.

• 복식
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• 제62권7호
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• pp.41-53
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• 2012

Hwangnamdaechong Tomb (The 98th tomb in Hwangnam-dong), one of the royal tombs located around the area of royal tomb of King Michu in Hwangnam-dong, Gyeongju, is currently designated as Historic Site No. 40. It is assumed that Hwangnamdaechong Tomb is a royal tomb of the early 5th century. This study aims to examine the fabric relics excavated from Hwangdamdawchong Tomb and currently housed in Gyeongju National Research Institute of Cultural Heritage. The types of fabrics excavated from Hwangdamdawchong Tomb include plain silk, warp-faced compound woven silk, and hemp cloth. Most of these fabrics are adhered to metal products that became rusty. Plain silk found in Hwangnamdaechong Tomb can be divided into four types by its weaving method. Geum excavated from Hwangnamdaechong Tomb is typical Gyeong Geum that uses colored warp for its base and pattern. It is plain Gyeong Geum that the binding weft and warp is plain woven. Although there are a lot of Gyeong Geum fabrics whose colors are hard to define due to yellowing after long years, there are still many fabrics whose color such as purple, red, blue, and green can be identified. As literatures have shown that p cloth as well as silk were frequently woven during Silla dynasty, tremendous amount of hemp cloth was excavated. Most of the hemp cloth has S-twist in the warp and 8-12 seung degree of delicacy.

• 한국의상디자인학회지
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• 제4권2호
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• pp.5-29
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• 2002

This study was to analyze the social identity described in the dress of the American novelist Pearl S. Buck's (1892-1973) major works. A novelist pursues varying and refined expressions in an effort to convey to readers the character' identities of his or her own creation. In particular, Pearl S, Buck was a great writer who was awarded the Novel Literature Prize, and since her work The Good Earth recorded a world-wide bestseller, she might well be called a popular novelist. She depicted well her characters' identities from divers viewpoints with her unique delicacy and realistic expressions. For this study, the following seven works which are considered to feature the dresses for character's identity well were selected out of her 85 works: The Good Earth (1931), Sons(1932), The Mother (1934), A Housed Divided (1935), The Hidden Flower (1952), Love and the Morning Calm (1953) and Letter from Peking (1957). For an analytical tool, the content analysis method was used. In order to systematically review the social identity described in the dress individuals' identity were classified into the following categories based on the identity theories: Social identity were divided into ① age identity ② sex, gender identity ③ economic identity ④ occupational identity ⑤ political identity ⑥ religious identity ⑦ kinship identity ⑧ regional identity. The characters' age identity, sex, gender identity, economic identity, occupational identity, political identity, religious identity, kinship identity, regional identity were depicted by their dresses and physical features. All in all, it is hoped that this study would provided important cues to the understanding of the other party's identity through his or her dresses in mutual relationship: It is believed that this study would be useful because they are arranged through the analysis of the dresses featured in the great writer's works using a consistent framework of analysis.

• 동아시아식생활학회지
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• 제19권6호
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• pp.1032-1038
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• 2009

This study describes the production of functional Ssukgaen Dduk though the addition of yam and mugwort to Goami 2, a healthy diet and diabetes. In this study, the rice is soaked for many hours and the particle size distribution of the rice was determined as a function of the water-soaking time. The produce Ssukgaen Dduk was repeated after the addition of varying concentration of yam. Non-glutinous rice was soaked for 4, 8, 12 hours and the Goami 2 rice was soaked for 4, 8, 12, 16, 20 hours and ground to a powder and passed through a 18~30 mesh sieve to determine the particle size distribution of the rice as a function of water-soaking time. Using this approach, optimal soaking time for Dduk was found to be 4 hours for non-glutinous rice(pass rate of 30 mesh: 58.29%) and 12 hours for Goami 2(pass rate of 30 mesh: 87.88%). When Ssukgaen Dduk made with Goami 2 rice powder only and those made with varying amounts of yam(10%, 20%, 30%, and 40%) were subjected to the sensory test, the control group(non-glutinous rice Ssukgaen Dduk) had the highest preference in general(3.73). Out of Ssukgaen Dduk containing yam, the S4 group, which contained 30% yam, had the highest preference(2.87) In addition the S4 group also had the highest extent of soft, and delicacy of texture general preference of S5, 40% the lowest(2.37), S1 only Goami 2 the hardness(112.59), as 91.46 lower (83.85) yam increased, the less hard the texture Ssukgaen Dduk. In conclusion Ssukgaen Dduk though the addition of mugwort and yam to the Goami 2 rice, it would be better to add 30% yam to 70% Goami 2 rice powder mixed with mugwort.