• The International Journal of Costume Culture
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• v.12 no.1
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• pp.97-100
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• 2009

Patchwork is a handicraft to put some certain shapes of small cloths together. Historical records of patchwork was discovered in Ancient Egypt as far back as BC 1000. Patchwork has been popular in the England and in around 13-$14^{th}$ century, European spliced little pieces of cloths for cold necessities, which made the handle of patchwork techniques gradually tend to decorative other than utility. Patchwork designs and techniques were taken across the Atlantic to North America with the early settlers in the mid-eighteenth century. In the early years of $20^{th}$ century, owing to the continuous technological advances, woman got more job opportunities that made patchwork technologies withered. Patchwork art continually evolved on the basis of historical and cultural factors to new styles, the famous Hawaiian, Stained Glass, Mola, Celtic, Victoria, Seminole and many other patchwork styles like that perfect embodied different art and cultures of different nations in different times.

• Journal of the Korean Society of Food Culture
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• v.36 no.2
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• pp.168-183
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• 2021

Using the big data analysis of the Choseonwangjosilrok, this research aimed to figure out the fruits' types, prevalence, seasonal appearances as well as the royalty's perspective on fruits during Choseon period. Choseonwangjosilrok included nineteen kinds of fruits and five kinds of nuts, totaling 1,601 cases at 72.8% and 533 cases at 24.2% respectively. The text recorded fruits being used as: tributes for kings, gifts from kings to palace officials, tomb offerings, county specialties, trade goods or gifts to the foreign ambassadors, and medicine ingredients in oriental pharmacy. Seasonally the fruits appeared demonstrating an even distribution. Periodic characteristics were observed in decreasing quantity chronologically. From fifteenth century to nineteenth century, the fruits with timely features were seen: 804 times at 36.6%, 578 times at 26.3%, 490 times at 22.3%, 248 times at 11.3%, and 78 times at 3.5% respectively. In fifteenth century: citrons, quinces, pomegranates, cherries, permissions, watermelons, Korean melons, omija, walnuts, chestnuts, and pine nuts appeared most frequently. In sixteenth century: pears, grapes, apricots, peaches, and hazelnuts appeared most frequently. In seventeenth century: tangerines and dates appeared most frequently. In eighteenth century, trifoliate orange was the most frequently mentioned fruit.

• The Research Journal of the Costume Culture
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• v.1 no.2
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• pp.221-232
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• 1993

This study analyzes the symbolism of costume in the genre paintings of Yoon Bok Shin, the great artist of Korea in eighteenth century, based on the symbolic interaction theory. We classify the symbolic character into tow categories, the symbolism of social status and position as a social factor, and erotic symbol as a sexual factor. The symbolism of the social status and position include the sex, age, class, occupation, and diginity. From the costume In the paintings, the symbolic character of the clothing in the social and sexual contexts can be visualized.

• The Journal of Korean Medical History
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• v.26 no.1
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• pp.97-106
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• 2013

What is the fundamental cause of the broader gap between East and West medicine? This is a very long story that began in the late Renaissance and still continues today. Why it took so long time from the end of the XIIth century when acupuncture was firt imported to Europe to XX century when it was finally settled in France? We present three cases which caused the delayed establishment : A "blisters" article from Diderot and D'Alembert in the eighteenth century, the practice of acupuncture by Dr. Berlioz in Paris in early 19th century, and the reception of the works of Georges Soulie de Morant in France in the 1930's. We attempt to show the misunderstanding that has always prevailed between the East and West medicines because of different viewpoint : the West has not understood the richness and subtlety of the approach of East asian thought and wanted to "align" the Asian medical modality to west medicine with inappropriate and insufficient "experiments" without enough explanation of the principles and philosophical backgrounds. It was not the matter of technology but the mutual incomprehension of history and culture.

• Journal of the Korean Geographical Society
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• v.41 no.5 s.116
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• pp.545-560
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• 2006

The purpose of this study is to investigate the relationship between the development of French state and the development of cartography from the sixteenth century to the seventeenth century. For this, firstly, the development of military maps as a means for the defense and expansion of territory was examined. Secondly, the development of overseas maps as an aid for colonial expansion was considered. Thirdly, the development of national maps as a representation of the state was examined. Fourthly, the development of atlas mapping as a means for establishing national consciousness was considered. And finally, the role of maps in state building was discussed.

• Asian review of World Histories
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• v.2 no.1
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• pp.1-16
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• 2014

This paper examines the historical relationship between the Little Ice Age and the Anthropocene, which has not yet been studied. The Little Ice Age is the coldest multi-century period in the Holocene. The reforestation of huge farmlands, abandoned due to pandemics in the Americas, aggravated the cooling weather of the Little Ice Age. It was in the long and severe cold of the Little Ice Age that the transition from renewable energy to non-renewable energy was completed in Britain in the latter part of the eighteenth century, and when the pattern of linear growth in greenhouse gas concentrations was forged in the ecosystems of the Earth. The Little Ice Age forced humans to depend on fossil fuels while the advent of warmer and more stable climate in the Holocene enabled them to start agriculture in an energy revolution 11,000 years ago, thus making the coming of the Anthropocene possible.

• Acta Via Serica
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• v.5 no.1
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• pp.87-120
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• 2020

This article introduces the texts of Manchu shamanistic prayers recorded in a manuscript by Sergei A. Polevoi, a Russian and an American Sinologist from the first part of the twentieth century. The Manchu original text of these prayers (but not the Polevoi's variant) was recently published by Ye (2018), which, however lacks detailed linguistic analysis. Polevoi's texts are in the slightly outdated romanization of Manchu with no linguistic analysis, translation, and commentary that are provided below by the author. While this publication will be of minor interest to the specialists on Manchu shamanism, it would be important to linguists specializing in the Manchu and Tungusic languages and philology, as the text reflects in all probability the eighteenth century Manchu preserved in romanization, and, therefore priceless for the linguistic analysis.

• The International Journal of Costume Culture
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• v.6 no.1
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• pp.1-10
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• 2003

This study aims to analyze the influence which Marie Antoinette, an unfortunate queen and fashion pioneer, had upon leading the creation of fashion in the eighteenth-century. In addition, this study attempts to expect some insights of fashion on the basis of analysis. Marie Antoinette created a new trend of fashion all the time through her hatred of restricting freedom, discontentment and caprice. She created the robes a l'anglaise, a la polonaise, a la levite, chemise a la reine, and so on. Also, Marie Antoinette created a giant hair style by hiring a hairdresser named Leonard. It can be believed that even though Marie Antoinette is open to censure owing to her frivolity, vanity and extravagance, she is recognized a creator of womanish, beautiful, delicate and graceful dress and ornaments.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.118-133
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• 2008

The basic costumes of the joseon dynasty such as pants and jackets were not particularly distinctive over the period in comparison to po. The coat that was worn over pants and jacket, however, had different forms in the course of the joseon dynasty. In this paper, I will analyze the changing style of pyeonbokpo, the daily costumes of Joseon man, which were excavated in recent years. Changes in the collar style were the most distinctive of joseon pyeonbokpo such as cheolik, dapho, aekjueum, jikryeong, daechangyeui, jungchimak, and juyeui. Although pyeonbokpo had double collars in the early joseon dynasty, they disappeared in the seventeenth century: a straight line also replaced by a curve for the collar perimeter. Front-adjusting of pyeonbokpo was very deep in the early joseon dynasty; front-adjusting became simple in the late joseon dynasty, resulting in the central positioning of a ribbon. The rectangular form of a gusset(mu) was stitched to the bodice through various pleats. Gusset patterns changed greatly into various forms in the seventeenth and eighteenth centuries, along with the ladder gusset form. The long vest(dapho) was half-sleeved and had a deep front adjustment in the early joseon dynasty; however, it did not have collars and sleeves since the eighteenth century. The waist line of cheolik had the ratio of 1.2 to 1 for the bodice to skirt. But the length of skirts grew gradually into the ratios of 1 to 1, 1 to 2, and 1 to 3.8 while the waist line moved upwards to the chest line. Sleeves of all po had a straight form but they gradually developed the tendency to widen towards the wrists. Later, sleeves changed again, having a wide rectangular form starting from the armpits. Cheolik was widely worn in the early joseon dynasty; however, it was worn less in later years. Instead, clothes that had slits such as dopo, daechangeui, and jungchimak were greatly available. These characteristics of the change in men's costumes enable us to measure the time period of excavated findings despite the lack of records for Joseon graves.

• Journal of architectural history
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• v.3 no.1
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• pp.161-172
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• 1994

This is part of a study on the origin of modernist forms and settings. Forms in Modern Architecture are totally new as though they seemed to be originated from some remote culture. Archaeological studies and Laugier's primitivist attitude to the classical architecture provided a way leading, in the end, to pure structures and abstract forms. An application of the classical elements was combined with the ultimate image of nobility, simplicity and rationality. What the seventeenth and eighteenth century theorists realized in the ruines of the classical structures were not the ones with their original organic vitality but the deteriorated, naked and abstracted ones. The essence of the classical structures has been the one of the main references of the modern white architecture. Ration and Nature were the quintessential terms in the design process of the Enlightenment architects of the late eighteenth and nineteenth centuries as they were in the twentieth century architecture. Pure geometric and symbolic forms were new inventions for the new revolutionary age after the development of architectural Styles, successive until Baroque and Roccoco, ceased to go on to the next phase. Many of their buildings appeared so modem in character, for they were omitted all but the essential structure and decoration. Other sides of rationality in the pre-modern age were evolved in terms of the paradigmatic research and the logic in structure. Durand developed a systematic typological approach to the forms. Geometry was the basis of his designs and his illustrations resembled endless simple geometrical problems. One of the other rational approaches was mainly developed by Viollet-le-Duc. To him, Gothic architecture was the model in which each members functioned actively and exerted counterpressure and the Middle Ages invented new fantastic forms. The several ways of rational approaches in architecture were led to the 'tabula rasa' planning in modern architecture. Nature was remained untouched and not deformed as Ledoux's houses in the $H{\hat{o}}tel$ de $Th{\acute{e}}lusson$ were setted on informal gardens. It is part of the modem image that Nature flows or interpenetrates through the white prisms of the strictest classical purity and machines.