• 한국의상디자인학회지
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• 제20권1호
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• pp.61-77
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• 2018

The primary focus of this thesis is to look at Scythai's historical, geographical and ethnologic background in order to understand Scythai's garment types and styles as described in Scythai-related documented records, previous studies and excavated artifacts. Based upon this, another objective lies in comparing and contrasting this information with ancient Korean garments to identify what kind of relationship exists between the two. The result from this study's objectives is summarized as follows. Firstly, ancient Korean and Scythai share similarities in art work, craftwork, accessories and the like, which allows us to make a guess at the relationship between ancient Korea and Scythai of that time. Secondly, Scythai garments are based on the tight and well-fitted Caftan Yugoje, which is tightly fit to the body, as well as including garments similar to the drapery Kiton and Tunic found in ancient Greek garments, from which can be seen that the garment of culture medium passing between the East and the West had nomadic horse-riders' ethnic characteristics and Eurasian characteristics. Thirdly, ancient Korean Scythai garments were found to have homogeneity in their garment culture in that northern nomadic cultural district's Hobok-Goseupje, i.e., open-front Caftan Jeogori and pants called Sangeuihago is its basic with a triangular cone hat shape (transformed hat) and boots, which is the basis for considering that ancient Korea exchanged culture with Scythai, who once lived as active northern nomads. However, it can also be seen that ancient Korea and Scythai garments differed in form depending on region, weather, culture, custom and the like. As such, Scythai and ancient Korea have an aesthetic bond because northern nomads and Scythai exchanged their cultural traits of the times. The evidence supports this idea as it seems that the characteristics of garments that can be considered to be Scythain in style are also commonly discovered in ancient Korean garments.

• 복식
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• 제52권4호
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• pp.155-171
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• 2002

Trompe-1’oeil technique strategically conceived with a view to effectively realize creative ideas among the expression techniques of fine arts style has provided the driving force in development of fine arts and has continuously influenced development of the modern fashion pursuing unique individuality. The purpose of this study is to open a new horizon for the development of fashion as a practical art, and to seek the expansion of the creative domain and ultimately to contribute to the creation of original and creative fashion by examining the interrelationship between Trompe-1’oeil, which has long been utilized and positioned as one of the leading fine arts techniques with the advent of surrealism in the beginning of the 20th century and the modern fashion. The study is focused first on finding out how Trompe-1’oeil technique originated in connection with researching the fashion of Trompe-1’oeil and on analysing the techniques of expression, and then on investigating into Elsa Schiaparelli, pioneer of Trompe-1’oeil technique to identify her influences, and finally on classifying clothes employing Trompe-1’oeil technique by their expression method to examine how Trompe-1’oeil technique has been applied to modern clothes. As for the research method, the researcher has referred to fine arts books, collection of pictorial records and the like to gain conceptual understanding of Trompe-1’oeil and to examine the expression method and the features of Trompe-1’oeil, and collected and referred to fashion books and fashion marazines to understand Elsa Schiaparelli and the expression tendencies of Tromprf-1’oeil in modern fashions. Particularly, the researcher has attempted to search the correlation between modern fashion and Trompe-1’oeil technique. As a result of this research, the researcher has managed to classify Trompe-1’oeil technique expressed in modern fashion into ‘harmony’, ‘application of the human body’, ‘front and back’, ‘surface and inside’. ‘completion of the incomplete’ and ‘detail.’ The researcher has also noted that Elsa Schiaparelli, a surrealist first applied Trompe-1’oeil technique to clothes and confirmed that quite a few avant-garde clothes designers following Elia Schiaparelli, by using Trompe-1’oeil technique in clothes, recently recreate fresh feelings.

• 대기
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• 제29권4호
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• pp.439-450
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• 2019

Present weather plays an important role not only for atmospheric sciences but also for public welfare and road safety. While the widely used state-of-the-art visibility and present weather sensor yields present weather, a single type of measurement is far from perfect to replace long history of human-eye based observation. Truly automatic present weather observation enables us to increase spatial resolution by an order of magnitude with existing facilities in Korea. 8 years of human-eyed present weather records in 19 sites over Korea are compared with visibility sensors and auxiliary measurements, such as humidity of AWS. As clear condition agrees with high probability, next best categories follow fog, rain, snow, mist, haze and drizzle in comparison with human-eyed observation. Fog, mist and haze are often confused due to nature of machine sensing visibility. Such ambiguous weather conditions are improved with empirically induced criteria in combination with visibility and humidity. Differences between instrument manufacturers are also found indicating nonstandard present weather decision. Analysis shows manufacturer dependent present weather differences are induced by manufacturer's own algorithms, not by visibility measurement. Accuracies of present weather for haze, mist, and fog are all improved by 61.5%, 44.9%, and 26.9% respectively. The result shows that automatic present weather sensing is feasible for operational purpose with minimal human interactions if appropriate algorithm is applied. Further study is ongoing for impact of different sensing types between manufacturers for both visibility and present weather data.

• 복식
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• 제31권
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• pp.189-202
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• 1997

Movie is one of the most popular culture ac-tivities in modern society and the composite rt of science and art born in the 20th century. Movie became the great source of setting the fashion. Especially movie costume brought into relief and was accepted by the mass. As a movie stimulates imitation psychology and identification of the general public in fashion. The purpose of this study is to analyze the effects of the movie costume to a modern mass fashion. The times was defined the movies from the early Silent era to the modern Hollywood movie from the late of 1910 to 1990. The way of study were to analyze on the changes and roles of movie costume through documentary records and the influence of set-ting the fashion to the mass fashion and classi-fied it five times-silent era classics neo-classics new look and modern times. The summary of result is as follows, 1, Movie costume affected the dress and the fashion of women is Silent era. That fashion was accelerated by actors' costumes in the mode of 1920. 2. Holloywood movies in the Classics show the essence of the fashion movie costume played a role of a fashion leader and commanded the trend of mass fashion. 3. Practical style was shown because of the war in the Neo-classics. Movie industry was prosperous after the war. But the consequences of the movie costume to the mass fashion were more and more weaken 4. Couture designer's costume had an effect on the mass fashion in the early of New look. But it was behind the fashion for the rise of young fashion. 5. The tastes of the fashion were diversified in Modern times. So the movie fashion was not imitated or popular. The costume of "Pret-a-porter" was used in the movies in the 1980. Spectators became to wear the same style of the actors. The times fashion and movie interacted each other. Movie costume is playing a role of a fashion leader guiding the mass fashion.s fashion.

• Archives of Plastic Surgery
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• 제33권4호
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• pp.521-524
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• 2006

Purpose: The history of biometry dates back to ancient Greek. The ideal body ratio from biometry is used as a guideline in many works of art. Biometry is also used as a medical standard to determine normal or abnormal. Since the biometry of face is so complicated, many surgeons tend to regard preoperative evaluation as a bother and substitute medical records with some photographs. We introduce a new method to measure $MRD_1$ and levator function using digital photographs, which becomes widely used lately. Methods: $MRD_1$ can be measured with the primary-gaze-view photo which is magnified by PhotoshopR 7.0.1. The distance from coneal reflex of ring flash to upper eyelid margin is converted to mm-unit using the piece of ruler attached on the patient's face. Levator function can be measured with up-gaze-view photo and down-gaze-view photo which are superimposed on another. The excursion distance of upper eyelid margin (a) and the excursion distance of eyebrow (b) are measured respectively. The levator function can be assessed through subtraction of two values (a-b). This method is simple and precise and can be applied directly to patient without photos. Results: Using magnified digital photos and computer, this method can reduce personal error and instrumental error. Taking some digital photos doesn't take long time, so it can reduce the effort of preoperative evaluation and discomfort of patients. Conclusion: Digital photo-biometry is useful for retrospective study. Especially reducing personal error, it is useful when the number of specimens is huge. New levator function test is much more useful for Asian-specific eyes than Berke's method allowing frontalis muscle compensation.

• 복식
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• 제54권4호
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• pp.41-53
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• 2004

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows： (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among People. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon whit,. silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.

• Earthquakes and Structures
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• 제8권6호
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• pp.1363-1386
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• 2015

The October 23 2011 Van Earthquake is studied from an earthquake engineering point of view. Strong ground motion processing was performed to investigate features of the earthquake source, forward directivity effects during the rupture process as well as local site effects. Strong motion characteristics were investigated in terms of peak ground motion and spectral acceleration values. Directiviy effects were discussed in detail via elastic response spectra and wide band spectograms to see the high frequency energy distributions. Source parameters and slip distribution results of the earthquake which had been proposed by different researchers were summarized. Influence of the source parameters on structural response were shown by comparing elastic response spectra of Muradiye synthetic records which were performed by broadband strong motion simulations of the earthquake. It has been emphasized that characteristics of the earthquake rupture dynamics and their effects on structural design might be investigated from a multidisciplinary point of view. Seismotectonic calculations (e.g., slip pattern, rupture velocity) may be extended relating different engineering parameters (e.g., interstorey drifts, spectral accelerations) across different disciplines while using code based seismic design approaches. Current state of the art building codes still far from fully reflecting earthquake source related parameters into design rules. Some of those deficiencies and recent efforts to overcome these problems were also mentioned. Next generation ground motion prediction equations (GMPEs) may be incorporated with certain site categories for site effects. Likewise in the 2011 Van Earthquake, Reverse/Oblique earthquakes indicate that GMPEs need to be feasible to a wider range of magnitudes and distances in engineering practice. Due to the reverse faulting with large slip and dip angles, vertical displacements along with directivity and fault normal effects might significantly affect the engineering structures. Main reason of excessive damage in the town of Erciş can be attributed to these factors. Such effects should be considered in advance through the establishment of vertical design spectra and effects might be incorporated in the available GMPEs.

• 한국식생활문화학회지
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• 제11권1호
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• pp.83-96
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• 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.

• 한국의상디자인학회지
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• 제20권4호
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• pp.105-115
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• 2018

This paper presents an investigation into Cheollik based on 288 records about it at the homepage of The Annals of the Joseon Dynasty on the Internet. Cheollik was called in diverse names and worn by various social classes from kings to common people, but it was solidified as clothes for military officers toward the latter half of Joseon. Not only did it serve the purpose of clothes, but it also was used for a royal grant, diplomacy, shrouding a corpse, and royal coffin. It served the diplomatic purposes a lot especially during the reign of King Sejo and King Seongjong. Cheollik was usually made of cotton, hemp, silk, and mixed fabric with silk used most. Its major colors include white, green, red, blue, black, purple, grey, and yellow with white used most. The fabrics and colors of Cheollik became simplified toward the latter half of Joseon. Silk was most used in Cheollik for a royal grant, shrouding a corpse, and royal coffin. White was most used in Cheollik for kings' visit to royal tombs or their participation in ancestral rites. There were limitations with the selection of materials according to the social status and situations. It was stipulated that only Sa and Ju were used to make Cheollik for Dangsangguan and Danghaguan. Cheollik made of silk was banned for country residents and merchants. The color of Cheollik for Danghaguan was changed to blue and then red. Of military officers, only those who had a Gonsu title or higher were allowed to wear Cheollik made of silk in various colors. In the end, Cheollik was abolished for its low convenience and efficiency during the rule of King Gojong.

• 기록학연구
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• 제52호
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• pp.171-212
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• 2017

음악은 오랜 시간에 걸쳐 여러 환경 속에서 각각의 감정과 이야기를 담아 만들어지고 불려져 왔다. 사회 구성원으로부터 이야기를 담아 만들어지는 음악은 듣는 사람들이 자신의 경험과 감정에 비추어 주관적으로 해석하기도 하고, 한편으로 그 음악을 통하여 다른 사람들과 공감대를 느끼며 서로 소통하기도 하기 때문에 당대 사람들의 정서를 반영한다고 할 수 있다. 하지만 음악을 받아들이는 수용자의 입장과 음악을 만드는 창작자의 입장은 다를 수 있다. 본래 음악과 같은 예술작품에는 창작자의 의도가 작품의 탄생 배경이 되고, 그 작품이 가지는 주된 의미가 될 수 있다. 이에 비해 대중음악은 상업적이고 대중적인 주류의 음악 유통 시스템 아래서 자본에 의해 상업적으로 제작되기 때문에, 창작자의 의도가 자본의 영향으로부터 벗어날 수 없다. 반면 자본으로부터 '독립'해서 자기들의 음악을 추구하는 인디 음악은 대중음악과 반대로 창작자의 의도가 순수하게 온전히 담길 수 있다. 이런 인디 음악을 생산하고 활용하는 인디 밴드의 활동과 관련된 자료를 수집하고 분석해 봄으로써, 한국 인디 밴드 활동에 대한 기록이 당대 사회상에 갖는 의미와 가치에 대해 알아보고자 한다.