• 중국학논총
• /
• 제62호
• /
• pp.49-69
• /
• 2019

This study refers to the methodology of study of usage patterns by dissolving the study of Korean auxiliary particle '만, 밖에, 뿐' and Chinese range adverb '只, 光, 僅', and uses the actual language data of Korean native speakers and Chinese native speakers Using the constructed corpus, we looked at the usage patterns of auxiliary particles '만, 밖에, 뿐' and range adverb '只, 光, 僅' respectively. In the Korean and Chinese corpora, the Korean auxiliary particle '만, 밖에, 뿐' and Chinese range adverb '只, 光, 僅' are each 300 sentences, and a total of 1800 are used as analytical corpus. through the analysis of the examples, the features and differences such as the appearance ratio of Korean and Chinese, appearance environment are revealed. the analysis results of Korean and Chinese are compared to find common points and differences.

• 한국농촌생활과학회지
• /
• 제8권2호
• /
• pp.93-110
• /
• 1997

The customs of women s riding horse was prevalent in thriving period. The face toilet was mainly used by Gau Chang pattern. Wha Jun (chinen; Hwa-Qun(화전), make-up on forehead), was influenced nearly by Gua Chang and distantly by India. Penciling eyebrows with blue was transmitted from persia. Chinese cosmetics was most influenced during Tang Dynasty for it's colorful make-up and facial decorations such as Aek-Whang(액황), Wha-Jung(화전), Jang-Yob(장엽), Swa-Hong(사홍) and those made many Dynasty, since those kinds of styles were the result of mixture between traditional chinese and western styles, it became so unique and diverse. The Declining period of the Tang Dynasty has begun from the turning point, resulting from Rebellion of An Ru Sha'. Rebellion of An Ru Sha' made the chinese people have a sense of precaution, and an antipathy against babarian. Furthermore, the power of Tang Dynasty onto the countries bordering on western china unfortunately was declining due to the defeat at 99 the Talas war in 751. As the fashion of ‘Ho’ disappeared the costume pattern was restored to the traditional Chinese style of large sleeve and broad width. However, the Tibetan mode was appeared in women's hair style and face toilet since Yuan Ha (801-812). In Song Dynasty, women's make-up and adorment were originated from Dang Dynasty, but those were more simple than in Dang Dynasty.

• 패션비즈니스
• /
• 제11권6호
• /
• pp.139-156
• /
• 2007

The purpose of this study is to analyze the aesthetic characteristics of traditional Korean patterns appearing on fashion collections from 1990 to 2005. Traditional Korean patterns have been used as an important element to express a Korean image since the 1990s. Frequently used patterns included several kinds of geometric patterns, plant patterns(flower, peony, Four Gracious Plants), and Chinese character patterns. Specifically, since the 2000s, animal patterns such as tiger, Chinese phoenix, and giraffe which were not often used, plant patterns such as arabesque, peony, and flower, and a variety of Chinese character patterns appeared. For the expression techniques, while embroidery and printing was often used in the 1990s, they became varied into printing, beading, embroidery, gold and silver leaf, and hand painting after 2000 as a result of designers' active attempts. The aesthetic characteristics of fashion design with its focus on traditional patterns were analyzed. First, Chinese character patterns and phoenix pattern which were mainly used for a court suit, and show the excellence and unique originality of Korean culture. Second, traditional Korean patterns directly and indirectly imply symbolistic significance of lucky sign and illustrate the use of various lucky sign patterns. Third, traditional Korean patterns such as arabesque or peony were expressed by colorful embroidery to add decorative beauty. Finally, traditional Korean patterns reflect a naturalistic worldview and are completed finished as the design.

• 건축역사연구
• /
• 제20권1호
• /
• pp.41-60
• /
• 2011

As Overturned-bowl Stupa of India, the origin of Stupa, is accepted by neighboring countries, pure form and local characteristics combined to bring change in unique style for each country. Such change is established as new style through combination with contemporary tradition in China. In this thesis, pattern of Stupa shown in Longmen Grottoes' Relief-Stupa relieves. Since study on how Indian Stupa was introduced into China has been partially undertaken, this study focuses on the pattern of Stupas from that perspective. 40 Stupas were explored during field work with naked eyes, among about 50 stupas reported on the research data by Longmen Grottoes Institute. Relief-Stupa relieves of Longmen Grottoes are as important as Yungang Grottoes. While Yungang Grottoes were built during a period when Gandhara style and Occidental expression were adopted and integrated with Chinese culture and Buddhism, building of Longmen Grottoes can be called a starting point of 'Chinese' style of Buddhist culture and Stupa, fully integrated with Chinese culture.

• Geomechanics and Engineering
• /
• 제25권2호
• /
• pp.159-170
• /
• 2021

Particle size of tailings in different areas of dams varies due to sedimentation and separation. Saturated hydraulic conductivity of high-stacked talings materials are seriously affected by void ratio and particle breakage. Conjoined consolidation permeability tests were carried out using a self-developed high-stress permeability and consolidation apparatus. The hydraulic conductivity decreases nonlinearly with the increase of consolidation pressure. The seepage pattern of coarse-particle tailings is channel flow, and the seepage pattern of fine-particle tailings is scattered flow. The change rate of hydraulic conductivity of tailings with different particle sizes under high consolidation pressure tends to be identical. A hydraulic conductivity hysteresis is found in coarse-particle tailings. The hydraulic conductivity hysteresis is more obvious when the water head is lower. A new hydraulic conductivity-void ratio equation was derived by introducing the concept of effective void ratio and breakage index. The equation integrated the hydraulic conductivity equation with different particle sizes over a wide range of consolidation pressures.

• 한국한의학연구원논문집
• /
• 제16권3호
• /
• pp.33-44
• /
• 2010

Pulse diagnosis is considered one of the most important diagnostic methods in traditional Korean medicine. Nonetheless, there have been troubles of using pulse diagnosis practically, for the lack of its differential standards and standardized terminology. Rapid pulse belongs to the several traditional pulse types. Rapid pulse was first mentioned in the chinese medical book Haungdineijin that matched it to the fever as well as yang in the human body. Meanwhile, chinese doctors in Ming Ching dynasty of China suggested that rapid pulse meant more of the yin, cold-related reaction than yang and fever. In this study, we organized the past arguments of the rapid pulse and went back tracking what biological activities could be possibly linked to the rapid pulse. Thus, we figured out that the inflammatory mechanism has a close connection with the rapid pulse. The definition of the rapid pulse in Haungdineijin was indicating the acute inflammatory response, while in Ming Ching dynasty, it indicated the chronic inflammation. This is the deficiency-excess pattern of the rapid pulse. Furthermore, we discussed the nonexpression pattern of the rapid pulse which could be happened in case of the heat stroke, etc.

• 패션비즈니스
• /
• 제2권3호
• /
• pp.121-136
• /
• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• 동아시아식생활학회지
• /
• 제17권3호
• /
• pp.289-303
• /
• 2007

This report includes basic data on nutrition education for Chinese adolescents living in Korea. A total of 183 Chinese adolescents living in Incheon participated in the survey. Body composition was analyzed by the Inbody 4.0., and questionnaires on personal dietary behavior were administrated. When compared with the body measure indices of Korean adolescents, we found that height was similar, but weight greater ($5{\sim}12 kg$) among the participants. Regarding obesity, 30.0% of all students were obese (BMI>25), especially the high school boys (42.0%). But in the case of middle school boys, the rates of obesity and under weight (BMI<18.5) were the same (both of them at 22.9%). The average WHR (Waist Hip Ratio) of the female high school group (0.9) was over the normal range. The average percent body fat for each group was also over the normal range. The percentage of students having breakfast everyday was 52.2%, and the rate of skipping breakfast was 25.0%. In the obesity group, the rate of skipping breakfast was remarkably high (P<0.05). Because lunch service was not available at the schools, a lunch box from home was the most popular pattern (43.1 %), but eating out was also popular at 36.6%. For the male high school students, the eating out rate was 62.8%. Since many have-lived in Korea for a few generations, the students' eating practices were much closer to the Korean pattern. For their ordinary meal pattern, 96.0% of the students included Korean foods. however, for New Years Day, the rate of having Gyo-Ja was 75.2%, and having Wol-Byung at Choo-seok was 78.6%, showing that the Chinese tradition still remains. In the case of food preferences, the percentage having Kimchi everyday was 62.1 %, but those drinking green tea was 13.1 %. For cold drinks, the rate for drinking them more than twice per week was 71.6%. The most preferred cooking method was frying with oil (50.6%). Among the students who had visited China (or Taiwan), the rate for 'bad food familiarity' was 37.0%, and the rate for 'did not know Chinese traditional course menus' was 71.3%. As a result of combining eating practices from both China and Korea, and the absence of lunch service in Chinese schools, students are showing bad dietary behaviors. therefore, it is necessary to provide proper nutrition education and a system for lunch service in Chinese schools.

• 한국전통조경학회지
• /
• 제33권3호
• /
• pp.58-65
• /
• 2015

중국 강남지방 고전 사가원림의 포장문양은 황가원림보다 종류도 다양하고 변화도 많다. 쑤저우 사가원림에서 다양한 문양을 도입하게 된 사상적 배경을 규명하기 위해서 세계문화유산으로 지정된 9개소의 원림을 조사 분석하였다. 그 결과 원시 자연숭배신앙인 애니미즘과 토테미즘의 영향은 소수로 나타났다. 쑤저우 고전원림 포장문양 가운데 큰 영향을 미친 것은 유교, 도교, 불교 사상인 것으로 나타났다. 유교 사상이 나타난 사례는 간방식, 팔방식, 육방식 문양으로 주로 진입로나 정당건물 앞에 넓은 면적에 포설된다. 도교 사상이 나타나는 문양은 오복봉수(五福捧壽), 반도(蟠桃), 암팔선 문양이다. 불교 사상이 나타나는 사례는 팔보 문양인데 그 가운데 윤회사상을 나타내는 반장 문양이 제일 많이 나타난다. 이밖에 쑤저우 고전원림 포장 문양 76 종류 가운데에는 복(福), 재물, 다산(多産), 신분상승을 기원하는 의미에서 선호하고 믿었던 민속문화라는 범주의 문양들이 있다. 박쥐, 나비, 잠자리, 사슴, 개구리, 금섬, 잉어, 동전 등이 있다.

• 복식문화연구
• /
• 제19권2호
• /
• pp.296-308
• /
• 2011

The purpose of this study is to understand Qipao, that Chinese traditional women's cloth, and analysis the aesthetic characteristics of that. Joining WTO in 2002 and 2008 Beijing Olympic made China get the attention by the world and get the opportunity that advent of China style. Chinese fashion cultural contents have abundant meanings in internal or external, therefore characteristics aesthetic of Chinese traditional fashion had much influence in world fashion design. Qipao that has influence in contemporary fashion design could be used special fashion design data for China market. A variety of literature and prior researches for Qipao's history and transition process was studied. Internal and external documents, fashion magazines, internet information were investigated to study features of Qipao. Total 20 seasons fashion collections from 2000S/S to 2009F/W was examined, and selected 22 brands that showed Qipao style, after then extracted 418 photos among them. By the seasons, Eit showed 193 pieces in S/S and 225 pieces in F/W, and was put to practical use in F/W season than S/S. The results are as follows. The contemporary fashion collections shown in the Qipao style silhouette, detail, color, material, pattern and the results obtained by each, were in all respects diversity. In silhouette, including traditional tight silhouettes, 'H' silhouettes, boxy silhouette was such a variety. The five colors traditionally preferred color from the color was more of a tendency to be gorgeous. Modern reinterpretation of pattern designs by graphic pattern that has emerged. Also, shown in a contemporary fashion collection Qipao style leather material in application utilizing the glossy feel of a plastic material and has emerged feeling.