• Asia pacific journal of information systems
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• v.10 no.1
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• pp.81-106
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• 2000

Recently there have been many efforts to develop hypermedia systems. Hypermedia applications can be categorized into process-oriented or contents-oriented. However, it is not a trivial task to build contents-oriented hypermedia in a systematic fashion. The contents-oriented hypermedia systems are developed primarily for the applications of marketing or information services. This paper proposes a methodology for a contents-oriented hypermedia system. Hypermedia contents are typically structured in the form of hierarchies. An index node can be used in order to give an effective access to this hierarchical structure. The proposed methodology employs three types of nodes(contents, index and function) and various navigation mechanisms, and helps design contents-oriented hypermedia systematically. Furthermore, various design techniques are proposed for maintaining contents-oriented hypermedia systems that have an evolutionary feature. Two real-life cases are illustrated to demonstrate the applicability of the methodology.

• Asia Marketing Journal
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• v.24 no.2
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• pp.78-95
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• 2022

Identifying factors that influence consumers' intentions to adopt a smartwatch has become a major research interest in marketing literature, yet little is known about it in dissimilar cultural settings. The current research employs a comparative study of South Korea and Indonesia, which differ in location and cultural heritage, smartwatch penetration rate, geographic size, level of income, and developmental stage as a country. An extended model of TAM is proposed, and PLS-SEM is employed to test the model on data collected from 262 respondents. The findings indicate that complementary goods and healthtology have positive influences on perceived usefulness and visibility has a positive influence on social image; these, together with perceived price value, lead to the behavioral intention to adopt a smartwatch in both countries. Perceived cost was only significant for Indonesia. Theoretical contributions and practical implications are further discussed.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.154-165
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• 2015

Common issues in research and policy on cultural heritage can be extracted among Eurasian countries although countries in the region show different colors of policies and studies. Among them one thing peculiar to Central Asian countries is that in general they do not have well delineated laws and regulations on the protection of cultural heritage. It may be because they had no enough time and experience to legislate and implement relevant laws and regulations ever since they got independence. Research on cultural heritage in Central Asian countries is often made in cooperation with foreign institutions. As shown in archaeological excavation projects in Central Asian countries, cooperative projects exceed noncooperative ones in terms of size and longevity. UNESCO, through its projects on the Serial and Transboundary World Heritage Nomination of the Silk Roads in Central Asia, also supports countries in Central Asia and others along the Silk Road in order to facilitate inclusion of their cultural heritages in the Tentative List of the World Heritage. With regard to activities on the protection of cultural heritage, while respective countries in Central Asia have made good efforts, they could not produce effective outcomes due to short of budget and specialized manpower. They have rich resources of cultural and documentary heritage but their registered heritages on the UNESCO's World Heritage List and Memory of the World are under-represented because of short of technology and experience among other things. A new trend in cultural heritage studies that combined cultural heritage with tourism has merged in recent years. While some critics have raised some negative questions, this new fashion became popular and will continue with the support of governments of Silk Road countries. In conclusion, Korean institutions are further encouraged to organize cooperative networks for research and policy with respective Eurasian countries.

• Journal of the Korean Society of Costume
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• v.18
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• pp.211-223
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• 1992

The results of the researches in the wig and the Boyo are as follows. The wig is to be classified into Bu, Pyun, Chah, Cheh, and kwik, Bu is an ornamental hairpin used by the empress, and it is decorated with Boyo. Pyun is a wig made of braided hair. Chah is made of Bal which is put together by its lenath, and it was also called Picheh or Pisuck. It is made, one by one, of hair of the convicts and the low-class people. 초도 has a meaning of toupee, and it is used to look beautiful with its thick black hair. Kwik is a wig made of hair as if it is weaved out of thread, and it is rounded with a wire. In ancient times, it was also called chah, Pi, or Pi People wore different wigs according to their class and the use, in order of Bu, Pyun, and Chah. There are remains of the Han Dynasty. Boyo, just like the wig, was originally a custom of the northern nomadic tribes which had been introduced to the later Han Dynasty. It is also called Cho Song and has a different meaning from the Boyo attached to a crown before the Han Dynasty. It became much more beautiful in the Which in period. Boyo gained its popularity by the women in Tang Dynasty, which is due to the influence by the customs of the western Ho tribe. The name of hairstyling using wigs in each period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its properity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found. times, it was also called chah, Pr, or period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing, it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its prosperity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found.

• Journal of Fashion Business
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• v.24 no.5
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• pp.158-176
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• 2020

The purpose of this study was to examine the cultural diversity in terms of costumes by analyzing the costumes depicted in the early Kushan Dynasty relics, Tillya Tepe. As a research method, literature research and artifact analysis were conducted in parallel. The type of costume worn by the king (or priest) was in the type of a jacket and skirt, which was thought to be of Persian influence. The Greek god of Dionysos was wearing a costume with Danryong (團領) and narrow sleeves, a nomadic type of Central Asia. It could be seen that costumes were transformed into indigenous elements of the region. The shape of the helmet worn by the warrior was a Greek-Macedonian helmet. However, details were transformed into indigenous elements of the Kushan dynasty. The clothing of a nobleman riding a carriage was an element of dress that was observed in Chinese po(袍), and was an unusual element not found in nomadic peoples. There were goddesses wearing Greek robes like Aphrodite in Tillya Tepe's relics. On the other hand, there were goddesses who did not wear Greek chitons like the Greek goddess Athena. Instead, they wore high-waisted robes worn by the Orient goddesses. In addition, after Kushan occupied India, there were Indian elements believed to be expressed by accepting Indian culture. These elements were combined with regional orient elements of the Kushan dynasty, Central Asian elements, and Kushan's own elements. Thus cultural diversity emerged in the costumes depicted in Tillya Tepe artifacts.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.2
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• pp.63-78
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• 2017

The purposes of this study was to study Turkic clothing traditions as a way to shed light on cultural development via the interactions among different tribes along the Silk Road, the close correlations between the surroundings of the Turks and their costumes, and the root of Turkic culture through literature studies and empirical studies. The study results are as follows. First, the Turks were nomadic equestrian tribes in the north that dominated the cold dry steppes from the $6^{th}$ to $8^{th}$ century A.D., when they expanded their influence to Dongbei, China to the east, and Turkistan (Central Asia) to the west. The Turks formed a nomadic lifestyle and culture suited to a cold dry climate, and interacted with various other tribes via the Silk Road, while exchanging and sharing different cultural aspects. Second, given that the Turkic garments constitute a two-piece style, which is a category of the basic nomadic costume of northern tribes, and that the artifact materials manifest jackets, overcoats, pants and skirts, the garments are categorized into tops and bottoms. The tops are sub-categorized into jackets and overcoats. The bottoms are sub-categorized into pants and skirts. In light of the necklines of tops, jackets have round necklines, while overcoats have V-necklines, round necklines and lapel collars. The bottoms include narrow-legged pants, wide-legged pants and closed-hem pants. Drapery skirts are worn at the waist. Third, the Turkic V-neckline overcoat is comparable to the Huns' silk overcoat, which illustrates the ethnic link between the two tribes. Also, the Turkic narrow- and wide-legged pants are consistent with the Huns' silk pants discovered in Noin Ula. The Turkic costumes are mostly tight fitting, suitable for the nomadic lifestyle in a cold, dry climate. Also, additional patches must be attached to the crotch points of pants due to the equestrian lifestyle.

• Journal of Fashion Business
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• v.18 no.6
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• pp.57-66
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• 2014

The purpose of this study is to design appropriate digital tools for the production of makeup designs. In this study, we used a three-dimensional facial avatar simulation program developed by the Electronics and Telecommunications Research. This study is based on the creation of three-dimensional CG digital art of facial avatar makeup, produced by using simulation technology. First, the actual application and the tools for digital-optimization and media features were created, leading to the research and cleanup. Second, the theoretical background was applied to the formative elements of oriental colors in the designing process. Makeup design elements include point, line, surface, color, and texture. In this study, effective makeup design was interpreted to be based on the representation of particular elements, notably the design principles of balance, proportion, rhythm, repetition, emphasis, contrast, harmony, and unity. In Asia, design is based on the visibility of red, blue, black, yellow, and white-the colors of the five elements-and the use of points, lines, and shapes. This study was recently under scrutiny in relations to digital simulation and various three-dimensional designs, in terms of how to take advantage of a wide range of applications, and how to apply the findings through media and the dissemination of basic research. This study applies the characteristics of the limited existing stereoscopic three-dimensional and digital simulation programs in order to take advantage of the empirical research, providing a basis to implement this research in a meaningful way. A follow-up study is needed to extend these findings and theoretical foundation through continuous observation and in-depth technical development and research.

• The Journal of the Korea Contents Association
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• v.11 no.9
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• pp.166-173
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• 2011

Asia has shown a tendency that a certain country's culture leads the fashion in turn every 10 years. The trend of Hong Kong movies in 1980's was called 'Hong Kong Wave', the trend of Japanese animation and games in 1990's was called 'Japanese Wave', and then the 'Korean Wave' began in the late 1990's. This term '~Wave(流)' is a Japanese-style term meaning '~way', '~style', '~group', and so on. In the same manner, recent popularity of Taiwanese TV dramas and a particular star that is in fashion in Japan are called 'Taiwanese Wave', and Chinese movies, broadcast, tourism, and etc. are called 'Chinese Wave'. Thus, the term 'Korean Wave' is a part of expression '~wave' used in Japan and it started to be used in the mean time, and was officially used in <韓流-Song from Korea>, a promotion record of Korean pop music, produced by Ministry of Culture and Tourism in Korea. In this paper I propose to correct the error of the term 'Korean Wave', and furthermore, to define a term expressing Korean culture and study for its usage.

• Fashion & Textile Research Journal
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• v.17 no.6
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• pp.978-987
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• 2015

This study investigates the awareness levels of Korean textile companies and develops appropriate response plans for the Korea-US Free Trade Agreement. The study also explores practical and realistic directions that the Korean textile industry must initiate. A qualitative study was conducted on 10 individuals for a more in-depth and demonstrative understanding that provide a better awareness on the responses of the textile industry towards the Korea-US FTA. The results of this study are as follows. First, the effect of the Korea-US FTA on the textile industry was insignificant. Second, industry members determined that fabric sectors and specialized fabrics (such as industrial materials and finished clothing products) could realize benefits through the Korea-US FTA. Third, industry members emphasize that the current focus is on FTAs by countries that have solidified their positions as manufacturing and sewing bases for the US and Europe (such as Southeast Asia) and not the Korea-US FTA. Based on results acquired through this study, the response measures to enter the U.S. market are as follows. First, the industry must develop high-performance and high value-adding direct export products suited to the needs of the US market in order to realize the benefits of the Korea-US FTA. Second, the industry and government must cooperate to actively host and participate in overseas trade shows that can actively open sales channels within the US. Third, the self-sustainability of textile companies must be cultivated through continuous and focused government training.

• Fashion & Textile Research Journal
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• v.19 no.4
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• pp.400-410
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• 2017

Bactria was the intersection of transportation between Greece-Iran and Central Asia at the Silk Road. This kingdom was Greek in all of its ruling classes. Because the Greek culture of Bactria spread to India and the east, Bactria was a very important place in ancient civilizations. The purpose of this study is to understand the life and the various cultures of Bactria and the influence of Greek culture on the costumes of Bactria. The research method was approached through the analysis of the empirical data. Data on antiquities were analyzed in European exhibition catalogs and secondary data collected from Internet. The results of this study are as follows: First, the original costume of Bactria was identified in two styles in the reliefs of the Persian Achaemenid. One is the tunic jacket sarapis that goes down to the knee and wide trousers with half-length boots. The other is the Scythian style trousers that looks like a barrel in a Sarapis. Second, in the Bactrian coin depicting the bust of the Bactrians, the hair styles and headgear of the Bactrian kings were analyzed. The Bactrians wore braids with short curly hair and wore Macedonian hats and helmets on them. Third, the relics excavated from the ruins of Ai-Khanuom depicted the forms of the ruling classes of Bactria. The dress styles and hair styles of gods and priests were imitating the form of the Greek costume as it is.