• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.17-28
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• 2001

The purposes of this study were to arrange and analyze the Oriental Mode in 20th century fashion and to clarify that Oriental dress and its ornaments appearing as the main subject of Occident fashion gradually The results were as follows : First, Oriental Mode in 1900-1950s was prescribed as the 'Orientalism' to be expressed Occidental imperialistic viewpoint. Therefore, the Orient was used as the simple recording mark of the imperialism product or commercial motive and it was reflected in fashion. Second, it was explained in 1960-1970s as the 'Folklore Orientalism' that focus was moved into the folklore costume of Orient. Third, in 1980s, 'Ethnic' was conspicuous that reflected the traditional costume in the area of non-christianity. Especially, it was the decade that the Middle East attracted attention. Fourth, Oriental Mode in 1990s appeared as the 'Fusion' that Oriental and Occidental elements were mixed and compromised on equal terms. Fifth, it was expressed as a word 'Zen' that had natural fiber, moderate color and silhouette to be most basic and concise about human body at the end of 1990s. This study could confirm that the center of fashion was being converted into the Orient gradually. This may be understood as the pluralistic culture phenomenon. Namely, eclectic principle to recognize mutual style and individualistic nature and to utilize and mix was made, and this brought the conversion into Oriental sense of value.

• Journal of the Daesoon Academy of Sciences
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• v.17
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• pp.173-196
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• 2004

Miroku belief observed in Japanese folklore and popular religions is originated from the faith in a bodhisattva called Miroku (Maitreya) who, depending on Buddhist account, is supposed to appear in this world to save all mankind. This faith, together with the millenarianism inherent in it, was disseminated into many areas of East and Southeast Asia. It developed in various ways, being associated with the religious tradition of each area where it was accepted. In Japanese folklore and popular religions the aspiration for the "World of Miroku", the ideal world expected to be realized in the future, has been its most notable feature. This paper examines the notion of the "World of Miroku" developed in the cult of Mount Fuji in early modern Japan. In particular this paper focuses on the "World of Miroku" appearing in the teachings of Fuji-ko and Fujido, which were the organizations of lay believers. Through the examination this paper made the following facts clear. (1) The notion of the "World of Miroku" developed by Fuji-ko and Fujido had its bases in Miroku belief of Japanese folklore. (2) However the notion of the "World of Miroku" in the teachings of Fuji-ko and Fujido was quite different from that of the folklore. While the "World of Miroku" appearing in the folklore is characterized by good harvest and abundant gold and silver, Fuji-ko and Fujido leaders thought that all people, including the emperor and the shogun, would earnestly carry out their house business, do their best to promote the happiness of the others, and pray for the salvation of all mankind in the "World of Miroku". (3) The notion about the changes of the world, which was particular to Fuji-ko and Fujido, accounts for such development in the concept of the "World of Miroku". According to the notion the current world was recognized as the second stage, between the original world in the past and the "World of Miroku" in the future, in the history of human beings. This idea helped the leaders of Fuji-ko and Fujido to develop the theories of world renewal, in which the wrong doings of the rulers and poor morality of the people were to be corrected in the "World of Miroku". (4) One of the most important features of the "World of Miroku" was the equality between men and women according to the teachings of Fujido. Both Fuji-ko and Fujido had opposed to the prevailing view of women, in which women were regarded as being sinful and polluted. Fujido further tried to improve the status of women in their families and the society. (5) In accordance with such an innovatory view, Fujido challenged the custom of excluding women from sacred places, Mount Fuji in particular. Through clarifying these facts this paper shows that Miroku belief could function as a basis for developing the ideas concerning the world renewal in early modern Jap

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2005.06a
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• pp.21-22
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• 2005

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.18-27
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• 2003

• Proceedings of the Costume Culture Conference
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• 1996.08a
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• pp.1-3
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• 1996

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2005.06a
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• pp.29-30
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• 2005

• Korean Architects
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• s.621
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• pp.72-77
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• 2021

• Journal of the Korean housing association
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• v.21 no.6
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• pp.31-42
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• 2010

Korean Folk Village was founded in 1974 as the first open-air museum in Korea. It consists of over one hundred traditional Korean houses and buildings. Most of structures in the Village were reproduced or newly constructed in traditional style. Some houses were used as craft shop and folklore performance. Preservation of vernacular architecture by the government began in the late 1960s in Korea. The development of the Village was initiated by the central government for the sake of attracting both the foreign and domestic tourists. Park Chung-hee administration focused on national culture to justify their dictatorship. The government drove a very rapid economic growth in the 1970s and Korean society was in the midst of modernization leaving many traditional landscapes behind in the memory. The Village was aimed to appeal the Korean people's nostalgia and at the same time to combine their folk into the modern nation.

• Journal of Fashion Business
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• v.5 no.3
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• pp.95-109
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• 2001

The purpose of this study was for analyzing the fashion design imaged by Kimono in the 1990s. Through the work, what is the way to create the non-western fashion design can be found. For this purpose, I took my design data from fashion magazines in the 1990s, and referred to the literal materials about history of western costume and Kimono. The result were as follows ; Kimono in Japanese denotes thing to wear. Ki is derived from the verb kiru, to wear, and mono, thing. However, in the western world the term came to mean the T-shaped outer garment formerly known in Japan as the kosode. It is consists of sleeve(sode), wide sash(obi), hemline(suso), collar(eri), and material. There were many complex reasons for its diversity in the west, and for its evolution during the past one hundred years from the peignoir including exoticism, eroticism, women's liberation to the high fashion imaged by folklore and avant-garde. Therefore the fashion design imaged by Kimono was divided into feminine style, natural & folklore style, modern & avant-garde style.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.2
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• pp.65-73
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• 2004

Contradictions often occur between the process of urban modernization and protection of history and culture, which have become the topics of current studies. The development of a city has its past, present and future while history and culture have their continued process. Culture is the sediment of history, left among buildings and merged in life. Exerting a subtle influence on the construction of a city and behaviors of citizens, culture is very important to the urban construction and is also the soul of a city and its buildings. Culture is closely bound up with inhabitants' life and the key to protect well the cultural features is to protect well historical and cultural venues. Qushuiyuan Garden is a venue for local folklore activities. The programming holds that folklore, historical and humane sceneries should be protected and left to our coming generations.