• Journal of architectural history
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• v.17 no.4
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• pp.43-64
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• 2008

Kyeongbokgung succeeded in regaining its status as a royal palace after the reconstruction that began in the second year of King Gojong(1865) only to have most of its buildings taken down in the early 20th century. Fortunately, however, there is the Pukkwoldohyong(Map of North Palace), which drew out each of the buildings of Kyeongbokgung and their arrangement in details in 1907 when the royal palace lost its original appearance. And there is another plot plan of the royal palace at the Korea University Museum, which labeled it Kyeongbokgung-Baechido(Planning Map of Kyeongbokgung Palace). The map presents almost the same plan as Pukkwoldohyong in terms of making and expressive methods, being estimated to have been made in 1888 since its building arrangement doesn't show the changes made after 1890. The map also offers more information about the uses of each building than Pukkwoldohyong and matches the excavation results of the relics. Kyeongbokgung-Jeondo(Map of Kyeongbokgung Palace), which is recorded to be made during the reconstruction of the palace in the early years of King Gojong in historical materials, describes the shapes and arrangements of the buildings in a concrete and realistic fashion. The Kyeongbokgung-Baechido seems to be one of the plans made in the process of restoring and repairing buildings that were lost or destroyed in fire. The Kyeongbokgung-Baschido has the following historic values; 1) it provides dues to estimate the early state of the palace after the reconstruction during the reign of King Gojong. In fact the Sujeongjeon and Heungbokjeon show the early state of the reconstruction; 2) it contains data with which to understand the changes to the palace after 1890, around which they added Hamhwadang and Jibokjae; and 3) it offers information about the uses of the palace's buildings from 1885 to 1880 with its descriptions of the building purposes and relationships regarding the life in the palace.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.158-167
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• 2013

The cotton fabric armour for lower class soldiers can be found from the historical records of the mid-Joseon Korea. And the records show that the form and the structure of the armour was modified in the late 19th century in order to provide better protection from gunshots for the soldiers in the midst of the invasions from the West. This is a survey and research of the only artifact of the cotton fabric armour remaining in Korea - for its form, dimensions, and design. Using the historical records as reference, we can confirm the structure and characteristics of the cotton fabric armour of the Joseon period. This cotton fabric armour, preserved in National Museum of Korea, is a vest-type armour made of 30 layers of cotton. On the right shoulder, there is a button for tying knots and strings were tied under both armpits. On the surface of the cotton fabric armour there were some characters and patterns stamped in black. Presently, this artifact in Korea is the only specimen relic of its sort, but there are some other related relics in foreign countries including helmets and belts. Continuous researches would help extend the scope of armour study beyond the traditional researches that only focuses on the armours of the officials, thus helping us to understand the military costumes in traditional Korea.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.55-67
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• 2005

The purpose of this study is to document an unidentified velvet fabric which is located in the Museum. The investigation was conducted by analyzing color, weaving technique. pattern of the study object. To identify the origin of the object, many references about color trends, construction methods and patterns were accessed. Two comparative objects which were dating from 1600 to 1699 in the Museum of F.I.T. were selected since they are similar to the study object. The results of this study can be summarized as follows; (1) The type of this study object is 'cut and voided velvet'. It is obtained establishing the motif as areas of cut pile so as to form a pattern, while leaving other areas of the grounded weave without pile. Two flowers and two tulips with S curved stems are composed as one unit in the vertical direction. (2) The colors used in this study object. which are ivory, smoke blue, medium orange, and yellow. are part of a new trend color in the $17^{th}$ century. (3) The vertical undulating stripe patterns are also of significance in this fabric. They seemed to be contemporary with the serpentine line which was common since the $15^{th}$ century and the vertical stripes pattern which appeared from the $16^{th}$ century. (4) The stylized tulip patterns of this study object began to appear in the early $17^{th}$ century. The stems and leaves of this patterns are less sinuous than the floral motifs of the later $17^{th}$ century. Therefore, the study object is dated to early in $17^{th}$ century because of the color combination. stripes. stylized tulips, leaves. and stems are showing the characteristics of this period.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.88-102
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• 2010

The research examines the characteristics of the sewing methods used for women's Jeogori in modern Korea. The results are following. In the 1920s sewing of shoulder parts was started, and in the 1930s sewing by hand had reduced by dissemination of sewing-machine, and in the 1940s the Som-jeogori declined by the matter of economic and sanitary issues. In the 1950s four-fold sewing emerged, and during the 1960s the gause-lined triple-layered Jeogori was in fashion, and in the 1970s the Ggaeggi-jeogori and much elaborated Jeogori became in vogue. The characteristics of the sewing methods are changed by following factors. First, the dissemination of sewing-machine in the 1930's enabled fast and precise sewing of Jeogori which reduced the rate of clothes mending and the production period. Second, by development of washing method, the dry cleaning became common, resulting cleaner washing and better preservation. Third, introduction of western clothes gave rise to modernized Han-bok which was changed into practical and simple one. Fourth, by the introduction of synthetic textile and industry development, Jeogori with no armhole line or right Seop line was made using wide selection of textiles. Fifth, in 1945~60s, women learned' good wife and wise mother' education and the use of sewing machine in school. The clothing lifestyle affected the sewing method's change, for example, clothes sewed strongly by sewing machine not to take clothes apart, and attaching button instead of Go-reum to save clothes.

• Journal of the Korean Society of Costume
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• v.61 no.3
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• pp.122-138
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• 2011

The present research aims to consider the real remains of 2 suits of Kasaya owned by the Hwaeom Temple(華嚴寺) based on research results about Kasaya in the meanwhile. The present research on 2 suits of remains which are Royal gifts given to monk soldiers in case of a national crisis of the Joseon Dynasty has a big meaning in examining characteristics of Kasaya and grasping characteristics and structure of the 17th century's Kasaya of the Joseon Dynasty through dense survey and analysis according to components. If examining characteristics of Kasaya, the Kasaya of the Great Monk Seo San(西山) is composed on the basis of an initial form of Sun and Moon Light Patch's generation and the Kasaya of the Great Monk Byeok Am(碧巖) has a form that is separately attached through production of embroidery patch as a process of being settled down. If examining what surrounds gold thread in the girth and expression of Sumeru and Chaeunmun(彩雲紋), the composition of a form similar to an insignia badge, so because this is a Royal gift, this can be estimated as being analyzed in a Buddhism aspect by devising a design from the insignia badge at the time, with a meaning like an official uniform given to a monk. Although the insignia badge is a square, it seems that the Sun and Moon Light Patch is made as a rectangular form corresponding to the structure of Kasaya. In addition, it is thought that what the Samjoko(三足烏) idea which is a symbol of the Sun based on Buddhism and Taoism is used together with Yijoko(二足烏) even in expression of the Sun and Moon Light Patch in the Joseon Dynasty which was a Confucian country has a relationship with what a bird was expressed in the insignia badge of winged animals.

• Fashion & Textile Research Journal
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• v.10 no.2
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• pp.249-253
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• 2008

The purpose of this study was to investigate the properties changes of wool fabrics dyed with safflower red and yellow colorants under Ultraviolet(UV)-light. For this purpose, the wool fabrics dyed with safflower red and yellow colorants were compared with each other after uv-light exposure in terms of K/S value, color changes(${\Delta}E$), morphology, and strength retention. K/S value rapidly decreased with increasing exposure time, but K/S value of the samples dyed with safflower yellow colorants decreased less than that of the samples dyed with safflower red colorants. In color changes, as increasing exposure time, $L^*$ and $b^*$ increased, $a^*$ decreased, and thereby ${\Delta}E$ increased in the samples dyed with safflower red colorants, $L^*$ increased, $a^*$ and $b^*$ decreased, and so ${\Delta}E$ increased in the samples dyed with safflower yellow colorants, indicating fading away by uv-light and changes of hue, value and chroma value. But the color change of samples dyed with safflower yellow colorants was less than that of samples dyed with safflower red colorants. SEM pictures showed a severe degradation by uv exposure, regardless of colorants type. Tensile strength slowly decreased until 14 days, and rapidly decreased until 21 days and slowly decreased. Strength retention of the samples dyed with safflower yellow colorants was higher than that of the samples dyed with safflower red colorants.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.124-136
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• 2015

Xinjiang Uygur Autonomous Region is the area with the most Muslim populations in China and the costume of this ethnic minority group was influenced from its surrounding environment and religion. Headgear is one of the important costume elements of Muslim ethnic minority such as Kazakh, Kirghiz, Uzbek, and Tadzhik people, and each group has developed narious forms of it. Especially, we can notice characteristics of headgear in Xinjiang Uygur and four ethnic minority groups through women's headgear pursuant to motive of wear, classification of type, differences and comparability with other areas. Thus, purpose of this study is to investigate women's headgear of Muslim ethnic minority in Xinjiang Uygur Autonomous Region. Based on local data at the Xinjiang Uygur Museum, the study referred to Chinese ethnic minority costume and literature data as well as advanced researches related to Islam, and analyzed characteristics of women's headgear of four ethnic groups in connection with Muslim formation background in Xinjiang Uygur. Women's headgear of Muslim ethnic minority in Xinjiang Uygur can be largely divided into three types; cylindrical, conical and hood type. Headgear was influenced not only by natural environment and weather for protection of body, but also by Islam. Along with strong desire for decoration and expression of racial features, it was used as a means of race discrimination and representation of identity. The religion of Islam within these four ethnic groups grew in accordance with tradition of existing nomadic tribes and regional characteristics, and women's headgear developed in various ways added with religious precepts and nomadic features. Taking everything into consideration, it is found that women's headgear of Kazakh, Kirghiz, Uzbek, and Tadzhik people developed, adopting their own living style and features of minority races instead of remaining identical to the headgear type of Muslim countries in other area.

• International Journal of Costume and Fashion
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• v.15 no.1
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• pp.1-18
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• 2015

The ethnic dress of Germany's Black Forest, called Tracht, dates back to the 16th century. Although most people living within the Black Forest do not presently wear Trachten, some persistence in this tradition exists. This study explored the factors that have supported the persistence of the Trachten tradition, specifically related to the wearing and crafting of Trachten by women, in a contemporary society. A qualitative, ethnographic approach was adopted. Data were collected via observations and interviews in the Black Forest. Thematic analyses revealed that the maintenance of the Trachten tradition was linked to varied factors that revolved around the overarching themes of both persistence and change. Interpretations were supported by theory proposing that ethnic dress is not static, but rather, changes across space and time in ways that enable its persistence. The persistence of the Trachten tradition was linked to formalized practice, meaningful identities, and desires to preserve and promote local culture. Additionally, the persistence of the Trachten tradition was fostered by change in the tradition, including the conceptualization of Trachten as a "lived practice" and the negotiation of Trachten authenticity.

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.265-272
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• 2006

Traditionally exhibition design as been restricted to architectural, interior, and lighting design, but recently it has begun to overlap into environmental, performance, and installation art. Exhibition design also increasingly involves the application of film, fashion, and the new media. In the past, exhibits were arranged and displayed for the visitor to view directly, but with the development of more effective exhibit media a connection has been created between the exhibit and the visitor. However exhibition design has reached the limits of continuous growth without background theory, when now it must take Into consideration the museum's activation and the importance of the exhibition's design. Exhibition design has developed and grown rapidly since the Taejeon Expo in 1993, but it is a difficult development without a theoretical structure. The flow of exhibition design must be systemized, as the systemization of the transition process of exhibition design has not yet been achieved. This study aims to present an arrangement of exhibition design flow, and to investigate the variation factors in the transition process of exhibition design and exhibit medium development, based on the 18 year history of the Independence Hall that introduced the first systematic planning of an exhibition in 1987.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.81-90
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• 2013

There has been current trend running through each generation. All the leading areas in the fashion, art, architect industries etc. are absorbing the needs of the mass users and getting popular and high attentions from the society. One of recent trends are the interior design utilizing the aged style of materials such as bricks, antique and vintage objets. It is applied not only for the cafeteria, movie theater, museum but the cultural space. It reflects the brand-new and Utopian interpretation of design longings for the nostalgia and the old ages. This goes back to the picturesque aesthetics in the 1980s. The term "picturesque" means "picture-like". And it originated from the Utopian vision taken from the landscape paintings of English aristocrat's trip to Europe. it mainly reflects people's longing for the nostalgia and their the happy days in the past. In recent days of bad economies, it has been found in various areas from people's desire for the prosperity in the last days. The objective of this study is to examine the up-current trend of picturesque aesthetics and see its characteristics and how it can be applied to the interior design. And the feasibility study for the necessity of the picturesque aesthetics, any spatioperceptual elements and capable space for human beings to be made for an eclectic space in the desolate modern day life.