• Acta Via Serica
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• 제6권2호
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• pp.37-60
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• 2021

Before the tenth century, the dress of elite women in and around China often reflected "Han" Chinese fashions and preferences. In funerary paintings and relief sculptures of Sogdian and Xianbei couples from the sixth century, for example, women wear "Han" Chinese-style clothing. Even in the Tang dynasty (ca. 618-907), when exchange with Central Asia via overland Silk Road trade impacted the styles and patterning of elite dress and men incorporated clear Central Asian attributes into their dress, elite women in the Tang sphere wore recognizably Tang fashions. Chinese-style dress in these centuries clearly conveyed cultural import and, likely, political power, especially after the founding of the Tang dynasty. However, the straightforward borrowing of Tang women's dress shifted in the Khitan Liao dynasty (ca. 907-1125). The Liao, in contrast to other states that shared a border with China in previous centuries, saw themselves as political equals to the Song dynasty (ca. 960-1278) court in the south. The Liao court was interested in Song customs and culture and incorporated artistic motifs and practices from the Song court. However, the Liao courtly idiom was never fully subsumed into the greater world of the Song - rather, the Liao used facets of Song courtly culture for their own ends. One way this is manifested is through the dual administrative system, a bureaucratic organization that, among other things, regulated and distinguished between who was permitted to wear Khitan and non-Khitan dress. In this paper, I will examine the material evidence from funerary contexts for how the dress of elite Liao women both engaged with the dress of the Song, while also maintaining a certain amount of cultural autonomy. Through their dress, elite Liao women signaled clear messages about their status, identity, and difference to their Song counterparts.

• Safety and Health at Work
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• 제11권4호
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• pp.450-457
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• 2020

Background: The production of glass beads in Ghana is greatly impacted by the ingenuity of Ghanaian women. Preliminary investigations revealed the lack of interest on the part of women due to poor working conditions as a result of the influence of culture-specific silence. Therefore, the study investigated the poor working conditions faced by these industrious women with the ultimate goal of suggesting ways they can be empowered. Methods: A phenomenological study was conducted in two indigenous glass bead communities in Ghana. Data were solicited via direct observations, personal interviews and focus group discussions. Twenty-six purposively sampled respondents were recruited for the study. Data from the study were analyzed using Interpretative Phenomenological Analysis. Results: The results confirmed that the elderly women glass bead makers are much influenced by the Ghanaian culture of silence. This prevents the women from speaking about the challenges they are facing in their work. Also, the women are silenced because of the fear of losing their jobs as well as the reluctance of their male managers to remedy the challenges they encounter in the course of work. This has resulted in poor remuneration, lack of insurance packages for workers, certification, and absence of personal protective tools for the women. Conclusion: The study tasks the government of Ghana, the Legal Advocacy for Women in Africa (LAWA), the Fair Wages and Salaries Commission in Ghana, the Ghana Trade Union as well as the Local Government Workers' Union to empower the women to sustain the glass bead industry in Ghana.

• Acta Via Serica
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• 제8권1호
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• pp.1-30
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• 2023

Traditional Kurdish weavings are among the world's most ancient living textile traditions. One of the largest regional ethnic and linguistic groups, Kurds have inhabited a significant part of Western Asia for millennia. Historically, Kurdish territories were crisscrossed by old and important trade routes, including the Silk Roads. This led to the formation of some of the most significant Kurdish artistic and cultural traditions, including textiles, which influenced and were influenced by those of other non-Kurdish ethnic groups from Caucasia to Central Asia and beyond. One example of Kurdish carpet traditions born in the eighteenth century at the cross-sections of Safavid (1501-1736) urban carpets workshops and centuries-old indigenous Kurdish tribal/rural weaves is senneh gelim or sojaee. A finely flatwoven carpet that was exchanged regionally and internationally as a diplomatic gift and a highly prized commodity. Although in decline, senneh gelims continue to be made by Kurdish women weavers in their original birthplace Sanandaj, the provincial capital of Iranian Kurdistan to date. This study adopts an inter-disciplinary approach to present an image of senneh gelim and women gelim weavers, tracing the developmental trajectories of the craft from the eighteenth century to the present time by drawing on extant art-historical and social scientific studies along with primary ethnographic data collected in Iranian Kurdistan (2018-2019). It investigates the craft tradition's historical origin, various aspects such as techniques, materials, aesthetics, functions, and meanings, and how these transformed over time. Additionally, the paper looks at the social contexts of production, focusing on women carpet weavers and how their socioeconomic and cultural situation has formed senneh carpet production in the past and present and the implications for long-term preservation.

• 동남아시아연구
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• 제20권3호
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• pp.263-297
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• 2010

The relics of the Southeast Asian civilizations in the first phase are found with the relics from India, China, and even further West of Persia and Rome. These relics are the historic marks of the ancient interactions of various continents, mainly through the maritime trade. The traces of the indic culture, which appears in the historic age, are represented in the textual records and arts, regarded as the essence of the India itself. The ancient Hindu arts found in various locations of Southeast Asia were thought to be transplanted directly from India. However, Neither did the Gupta Hindu Art of India form the mainstream of the Gupta Art, nor did it play an influential role in the adjacent areas. The Indian culture was transmitted to Southeast Asia rather intermittently than consistently. If we thoroughly compare the early Hindu art of India and that of Southeast Asia, we can find that the latter was influenced by the former, but still sustained Southeast Asian originality. The reason that the earliest Southeast Asian Hindu art is discovered mostly in continental Southeast Asia is resulted from the fact that the earliest networks between India and the region were constructed in this region. Among the images of Hindu gods produced before the 7th century are Shiva, Vishnu, Harihara, and Skanda(the son of Shiva), and Ganesha(the god of wealth). The earliest example of Vishnu was sculpted according to the Kushan style. After that, most of the sculptures came to have robust figures and graceful proportions. There are a small number of images of Ganesha and Skanda. These images strictly follow the iconography of the Indian sculpture. This shows that Southeast Asians chose their own Hindu gods from the Hindu pantheon selectively and devoted their faiths to them. Their basic iconography obediently followed the Indian model, but they tried to transform parts of the images within the Southeast Asian contexts. However, it is very difficult to understand the process of the development of the Hindu faith and its contents in the ancient Southeast Asia. It is because there are very few undamaged Hindu temples left in Southeast Asia. It is also difficult to make sure that the Hindu religion of India, which was based on the complex rituals and the caste system, was transplanted to Southeast Asia, because there were no such strong basis of social structure and religion in the region. "Indianization" is an organized expansion of the Indian culture based on the sense of belonging to an Indian context. This can be defined through the process of transmission and progress of the Hindu or Buddhist religions, legends about purana, and the influx of various epic expression and its development. Such conditions are represented through the Sanskrit language and the art. It is the element of the Indian culture to fabricate an image of god as a devotional object. However, if we look into details of the iconography, style, and religious culture, these can be understood as a "selective reception of foreign religious culture." There were no sophisticated social structure yet to support the Indian culture to continue in Southeast Asia around the 7th century. Whether this phenomena was an "Indianization" or the "influx of elements of Indian culture," it was closely related to the matter of 'localization.' The regional character of each local region in Southeast Asia is partially shown after the 8th century. However it is not clear whether this culture was settled in each region as its dominant culture. The localization of the Indian culture in Southeast Asia which acted as a network connecting ports or cities was a part of the process of localization of Indian culture in pan-Southeast Asian region, and the process of the building of the basis for establishing an identity for each Southeast Asian region.

• 예술인문사회 융합 멀티미디어 논문지
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• 제9권9호
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• pp.819-831
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• 2019

현대에 거래되는 재화의 종류는 소비형태의 변화에 의해 급속도로 많아지고 있다. 그러나, 거래되는 재화의 종류가 많아진 만큼 이에 대한 정확한 가치판단이 흐려지는 경우가 발생한다. 미술품, 창작물 등의 재화는 소비자가 올바른 가치를 판단하기 어렵다는 단점이 크게 부각되고, 거래 형태 또한 다양하여 이에 대한 신뢰성을 보장받기 힘들다는 문제가 발생한다. 다양한 재화에 대한 접근성이 확대된 현재, 이러한 단점들은 공유경제 시장의 안정성을 저해하는 요인으로 꼽힌다. 본 논문에서는 이러한 문제점을 해결하기 위하여 신뢰성 있는 중개인을 통한 블록체인 기반의 재화 계약 서비스를 제안한다. 제안한 서비스는 이더리움 블록체인에서 동작하는 스마트 컨트랙트를 사용하여 신뢰성 있는 중개인을 등록하고 재화의 가치검증 및 계약 과정에 사용한다. 또한 재화의 등록 내용, 제안 및 계약 과정을 블록체인에 등록하여 계약 과정의 신뢰성을 보장한다. 모든 동작 과정은 스마트 컨트랙트에 등록되고, 이더리움 블록체인의 트랜잭션 히스토리에 저장되므로, 등록된 데이터의 신뢰성을 보장할 수 있다. 또한 등록, 제안 및 계약의 전 과정이 스테이트 머신 기반의 스마트 컨트랙트에 의해 동작하기 때문에 사용자는 계약 과정을 보다 안전하게 제어할 수 있다.

• 패션비즈니스
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• 제22권4호
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• pp.47-58
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• 2018

The Belgian textile wallcovering has the following background. The unique oceanic climate is optimized for flax. Beginning in the thirteenth century, British wool was produced for export to Britain or neighboring countries. Since the 15th century, Flemish paintings were influenced by color implementations, and these colors have influenced the developments of tapestry and art. Since that time, tapestry and paintings combined with paper technologies and Oriental civilizations, such as silk, that had been developed through trade ports, have been transformed into the form of current wallcoverings. Belgium produces the highest quality textile wallcovering using natural materials i.e., a combination of irregular and modern materials, and the implementation of different colors. The Belgian textile wallcovering is also a good representation of nature at the Heimtextil 2018, It provides a wide range of colors while retaining the best styles for wallcoverings in Belgium. The characteristics of Belgian wall coverings are: First, the high proportion of achromatic colors, especially the white ones, are analyzed for current trends. Second, it expresses the characteristics of materials by using only one material. This not only shows a high level of understanding of natural materials, but also shows a high level of development in terms of processing technology. Thirdly, linen was made into a formative expression using wrinkle processing and by printing geometric patterns, the rough texture of natural materials was expressed in harmony with modern patterns.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제12권7호
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• pp.3041-3063
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• 2018

Community search aims at finding a meaningful community that contains the query node and also maximizes (minimizes) a goodness metric. This problem has recently drawn intense research interest. However, most metric-based algorithms tend to include irrelevant subgraphs in the identified community. Apart from the user-defined metric algorithm, how can we search the natural community that the query node belongs to? In this paper, we propose a novel community search algorithm based on the concept of the k-hop and local distance dynamics model, which can naturally capture a community that contains the query node. The basic idea is to envision the nodes that k-hop away from the query node as an adaptive local dynamical system, where each node only interacts with its local topological structure. Relying on a proposed local distance dynamics model, the distances among nodes change over time, where the nodes sharing the same community with the query node tend to gradually move together, while other nodes stay far away from each other. Such interplay eventually leads to a steady distribution of distances, and a meaningful community is naturally found. Extensive experiments show that our community search algorithm has good performance relative to several state-of-the-art algorithms.

• 한국인공지능학회지
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• 제7권2호
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• pp.1-8
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• 2019

This paper, we argue that sector in terms of the creative industries the need to the institutional settle of the rent-a-driver business; the industry could create more than 200,000 jobs, the effect is to bring out the about 4 trillion underground economy and Can be interpreted industry, which contributes to reduce social costs, ranging from 1.7 trillion won to 5.7 trillion per year. Through institutionalization of policy should support. Observation and in-depth interviews were conducted with the law and the president of the rent-a-driver business company. The operating system should be improved. the rent-a-driver business, for the formulation of the work ethic and education is desperately needed. The effect socio-economic contribution effect of the rent-a-driver business industry can be summarized as follows. First, it is an industry that has an operating system utilizing state-of-the-art technology and equipment, and the convergence of creative industries to comply with the market. Second, the effect appears as an industry that creates jobs for the populace to replace the social security system, social safety net is considered as an industry. Third, this is an industry that can be self-reliant in the short term at least political support, the industry is considered in the industry to maximize the effectiveness and efficiency of the support policy.

• The International Journal of Costume Culture
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• 제13권1호
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• pp.1-4
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• 2010

The hand printed cottons of India are historically world-renowned for their rich fast colours, elaborate designs, and matchless quality. Until the discovery of synthetic dyestuffs in the latter part of the nineteenth century, the unsurpassed master dyers of cotton were the craftsmen of India-birthplace of cultivated cotton. The Indian printers and dyers monopolised this arcane art of permeating cotton cloth with richly hued, colour-fast designs, and the fruits of their labour proved hugely influential in international trade and the development of modern textile technologies. This paper focuses on a lesser-known body of hand printed cottons, traditionally produced in rural Rajasthan for everyday use by the local pastoral communities. Drawing on extensive research carried out with the region's Chhipa community of hereditary cloth printers, the complex and multiple applications of mordant, dye and resist are illustrated. Often taking months to complete, the enduring popularity of these labour-intensive hand printed cottons is then discussed, particularly in the light of the hugesocial importance borne by cloth in Rajasthan. Cloth and clothing are widely recognised as indicators of social status, gender, rank, and individual and group affiliations. In addition, cloth and clothing have been established as indicators of social, economic, political and technological change. The paper concludes by drawing attention to the recent influx of machine-printed polyester textiles, often replicating the designs or colours of the traditional locally produced cottons. Thus women of the region, whilst using these modern synthetic textiles as part of newer ways of expressing their identity, also visibly retain the values associated with hand printed cottons and traditional dress codes.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제9권11호
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• pp.4604-4622
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• 2015

It is not easy to reconstruct the geometrical characteristics of the distorted images captured by the devices. One of the most popular optimization methods is fast iterative shrinkage/ thresholding algorithm. In this paper, to deal with its approximation error and the turbulence of the decrease process, an adaptive proximal conjugate gradient (APCG) framework is proposed. It contains three stages. At first stage, a series of adaptive penalty matrices are generated iterate-to-iterate. Second, to trade off the reconstruction accuracy and the computational complexity of the resulting sub-problem, a practical solution is presented, which is characterized by solving the variable ellipsoidal-norm based sub-problem through exploiting the structure of the problem. Third, a correction step is introduced to improve the estimated accuracy. The numerical experiments of the proposed algorithm, in comparison to the favorable state-of-the-art methods, demonstrate the advantages of the proposed method and its potential.