• KOMUNHWA
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• no.52
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• pp.123-133
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• 1998

The extraction of carbon from temper in organic-tempered pottery of the Initial Neolithic sites on the Russian Far East allowed to date directly the earliest pottery in the area. First results show that pottery of the Gromatukha culture has $^{14}C$<

• The Journal of Art Theory & Practice
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• no.4
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• pp.105-121
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• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• The Research Journal of the Costume Culture
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• v.2 no.1
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• pp.1-27
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• 1994

This result of the study on the costume of Osman Turkey are as following. 1. Empire of Osman Turkey(129∼1922) exerted an almost limites impact and influence on Europe and Asia during their regime 600 years. The distant ancestors of the Osman Turks were nomadic peoples, who wandered I tribal groups through the Central Asia. Therefore their costumes were based on nomadic culture. They had trade with West and East were influenced by Hellenism and Byzantium and grew, to a strong Islamic political power polygamy with which influence their clothing along with other culture. 2. Topkapi Saray was one of he principal residences of the Osman sultans and his court. Late 17 century, Topkapi Saray found many of kaftans of Osman Turks Empires of 14∼17 centuries. Otherwise we studied by the minatures of 16∼17 centuries, Since the Topkapi Saray became a museum in 1924, a program of careful restoration has made it possible to some pars of it to the public, after centuries neglection. 3. Osman Turkey Empire had important role in between West and East(silk-road). Economic, commercial, social and political factor of Turkey led to a development in the art of weaving (kema, kadife, catman, seraser, zerbeft, hatayi, kntnu, atlas)parallel to the rise and development of the Osman Turkey Empire itself, one which raised the art to a level attained nowwhere else in the world. Fabrics woven from gold and silver thread occupied a very important place in the court life of the time. This was due as much to their symbolic as to their material value, reflecting as they did the power, glory and magnificence of the Empire. 4. In order to study Eastern or Western history of costume one must study Turkey history of costume in advance. Also there is a great need of comparison to study of western, central and north eastern area history of costume.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.169-205
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• 2007

Owing to the excavation of Goseong Munam-ri site, there has much advance in study of chronology of the early Neolithic Age flat-bottom potteries distributed in the mid-eastern part of Korean Peninsular. Relics such as stone tools, clay products, ornaments as well as potteries from Goseong Munam-ri site reflect cultural relation with Boisman culture in Duman river basin area and with the southern part of Korean Peninsular. Common features can be found in some potteries, arrowheads, scrapers, and sinkers from Boisman culture and Goseong Munam-ri site. There are much more common features in pottery and earring-making techniques observed in Goseong Munam-ri site and the southern part of the peninsular. Thus it may be possible to analogize migration or spread of people from the mid-eastern part to the southern part of Korean Peninsular.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.5
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• pp.473-488
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• 2012

This study examines the origin of dolls as well as how the role and types of various dolls have changed in a comparison of the functions of dolls before and after $20^{th}$ century. In addition, this study analyzes symbolic characteristics appearing in doll costumes. First, doll costumes (used in child play) represent sexual roles and various role models that are taught to children. Second, they reflect the fashion trends of that time and appear in the most beautiful forms that pursue the ideals of the time where doll costumes symbolize the latest fashion of the time. Third, the culture of doll costumes symbolizes cultural identity that show native customs, art, culture, and ethnic characteristics. Lastly, a mania society for dolls and collector groups are formed that share individual sensitivity. Members of those groups have feelings of solidarity and homogeneity through doll costumes that they have decorated and expressed themselves that show the reinforcement of a group by doll costumes.

• Journal of the Korea Furniture Society
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• v.28 no.1
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• pp.47-52
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• 2017

With the rapid economical and technological progress in China, the demand for wine increased tremendously along with the need for wine storage furniture and wine related products. Although demand for furniture increased, consumers' emotional need toward high quality design product has not been met properly. As the quality of people's life improves, they pursue better materials providing them with higher mental satisfaction. To meet the specific demand of Chinese market stated above, the direction of this report is set as to study pattern elements of Chinese traditional lattice and combine them with wine storage furniture design and crafting, which is originated from western culture. By doing that, the study is aimed to suggest a new direction of Chinese modern design and to improve the fundamental notion of Chinese furniture design. Although wine and wine racks are from western world, the wine mini-bar designed in this study stands out for its beauty and taste of eastern culture. It not only fits perfectly to the habits and taste of wine lovers, but also goes very well with fusion style interior design trend in modern China. The furniture carries the charm of eastern cultural tradition and elegance of modern furniture design in one.

• Journal of Digital Convergence
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• v.17 no.6
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• pp.69-75
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• 2019

The purpose of this study was to examine the effects of age and gender on Eastern and Western cultural values imbedded in online advertising. This study conducted a survey of 180 men and women ages between 10s and 60s who lived in Seoul, Korea. They responded the acceptance degree of six online advertising emphasized three Korean traditional values and three Modern values. Research hypotheses of this study were the acceptance of cultural values in online advertising is different between ages, but similar between gender. The hypotheses were supported as the previous studies. Findings suggest several theoretical and practical implications that convergence between modern and traditional values is a more important variable to study in the research of online advertising.

• The Journal of Korean Philosophical History
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• no.42
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• pp.295-330
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• 2014

This article is to investigate into the philosophical background and the applicability of the humanities programmes effectively to practice them, not to educate the religious doctrines, based on the traditional-cultural resources in the education center affiliated with the religious institution. These humanities programmes can be understood on the lifelong education associated with a person. In the light of common curriculum practising in the existing education center, contents of those programmes are reviewed with classifying the humanities programmes into 3 parts, that is, eastern classical language education, eastern classical education, and eastern traditional prognosticating arts branching off from the eastern philosophy. Eastern classical language education indicates the classical Chinese characters and literatures in the context of our historical tradition. Eastern classical education implies the education which can acquire classical literatures in a modern way, as a accumulation of knowledges having been in charge of a person's lifelong education, and as a entity responsible for making a person to bring to maturity of his character by comprehending the life of human being and the world in pre-modern, Finally, the eastern philosophy is chosen for the reason that have the very interesting contents which can report facts that recover the integral relationship between nature and human being lacking in contemporaries, and instead of rejecting to interpret human being excessively in terms of materialism, is a significant one endowed with the mission which should develop his potentials through the his lifelong. Especially, eastern traditional prognosticating arts are selected that people has considered with them so kindly, and are the knowledges forming the cores of national culture. It may be a very important that attempts to develop the humanities programmes practising in the education center affiliated with the religious institution are not only the demands of the times in our days, but also a new teaching way replacing with old fashioned teachings.

• The International Journal of Costume Culture
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• v.8 no.1
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• pp.1-10
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• 2005

The Korean and the American consumers's attitude toward globalization were compared in the context of cultural values. This study exclusively investigated the effect of traditional versus non-traditional values and the mediating role of fashion involvement. The study sample consists of American and Korean female college students. It was affirmed that long supported categorization of individualism for Western culture and collectivism for Asian or Eastern culture does not seem to characterize the postmodern generation. No major differences between Korea and the U. S. were found in the empirical study except that Americans showed higher levels of cultural values and Koreans associate fashion involvement with global-mindedness more strongly. The impact of cultural values was similar across cultures but the mediating role of fashion involvement was dissimilar depending on the cultural backgrounds of respondents.

• Journal of Contemporary Eastern Asia
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• v.19 no.2
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• pp.179-196
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• 2020

Despite the enormous success in Japan of Korean popular culture, including TV dramas and K-pop, over the past few decades, anti-Korean sentiment in the country has become increasingly visible and intense. In this article, we examine how young Japanese female fans of Korean popular culture engage with the Korean Wave discourse while also engaging with―or, rather, disengaging from―anti-Korean movements and hate speech. Whereas previous scholarship on the Korean Wave has emphasized the power of active fans' agency, this paper investigates how the fans who passionately and self-reflexively consume Korean popular culture understand and react to the growing anti-Korean sentiment in Japan. Through in-depth interviews with 15 of these fans in their 20s and 30s, we show how they have navigated the discursive space between appreciation for Korean culture and anti-Koreanism in Japan.