• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.51-69
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• 2007

Mu-Guan(武冠) is a headgear of northern nomadic people's costume, Ho-Bok(胡服). It became a part of Chinese(中原) Costume through the adoption of Ho-Bok(胡服) by King Muryong(武寧王) of Kingdom of Cho(趙). Chinese(中原人) did not use it as the formal costume of high class but the Costume military or low-level classes because Chinese(中原人) reguad it as a practical costume only for low-level classes. In this process, Mu-Guan(武冠) and it's clothes had got changed. It became high in shape by an influence Hsien-pi(鮮卑族)'s headgear and became generous in it's going with clothes for Chinese(中原) Costume. It needs to attend that Mu-Guan(武冠) could be found in Koguryo(高句麗)'s mural paintings. Mu-Guan(武冠) of Koguryo(高句麗) had kept the same pattern from middle of 4C to late of 5C. Actually Koguryo(高句麗)'s Mu-Guan(武冠) was similar with Han(漢) dynasty's, but It was quite different from Qin(晉) or Wei(北魏) dynasty's which belong to same period with Koguryo(高句麗)'s. It is possible to guess at Koguryo(高句麗) advanced Mu-Guan(武冠) as their own. Koguryo(高句麗) could be aware of 'Changed Mu-Guan(武冠)'. Because there are frequent diplomatic event between Koguryo(高句麗) and Chiese Dynasties, Barbarian Dynasties. Moreover the guess have persuasion by the existence of 'Changed Mu-Guan(武冠)'in Jee-an(集安) district's mural painting as a Costume of holy person. In brief, It could be noticed that Koguryo(高句麗)'s Mu-Guan(武冠) is distinguished from Chinese and Barbarian dynasties' and Koguryo(高句麗) advanced Mu-Guan(武冠) in their own style.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.5 s.142
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• pp.692-702
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• 2005

The purpose of this study was to explore global consumer behavior with fashion products, Korean fashion products, and Korean traditional fashion products (i.e., Han-Bok). Clothing selection criteria for fashion products and Korean fashion products were included as major constructs far the comparison among global consumers based on their nationality. Other consumer behavior variables were shopping place, buying frequency, purchase experience/plan, preferred brand, purchase items, information source, purchasing usage, and the product evaluation of Hanbok. A convenience sample of 236 global consumers was selected for this study. A questionnaire was pilot tested, and the revised questionnaire was used for the interview survey. Descriptive statistics and ANOVA were used for data analysis. Various nationality were existed such as Europe, North America, Japan, China, South East Asia. The results indicated that the most important criteria for fashion buying were design, fit, and size in order. Fit, size, and color item from buying criteria were significantly different among global consumers by nationality. Country of origin was found as less important factor among global consumers. Department store was most favorable shopping place, and once a month is the most mentioned category in buying frequency. Preferred brands were Levi's, Polo, Gucci, and Prada, etc. Secondly, regarding the evaluation of Korean fashion products, textile quality was highly evaluated. Significant difference except design/style category were existed among global consumers by nationality. Thirdly, regarding the evaluation of Hanbok, the product evaluation of Hanbok highly represented as special event clothing, unique image, beautiful details and oriental beauty in order. Significant difference in good quality of textiles, oriental beauty, coordination with good colors and fabrics, beautiful details and unique style and design were existed among global consumers by nationality. Managerial implications were discussed.

• The Research Journal of the Costume Culture
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• v.2 no.1
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• pp.93-104
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• 1994

Nowadays computer technology is being applied in various areas of apparel design. In particular, since the task of pattern making is to be performed by a set of predefined drawing rules, the effect of computer application in pattern making will be significant, There have been a large number of studies on pattern making program. For instance, the previous studies have developed computer programs for pattern making of women's wear, men's wear, children's wear, Han-Bok, etc. Most of them have focused on the development of computer program for a particular kind of apparel only and, however, have disregarded the feasibility of developing a multi-purposed computer program so that is just can be modified to adopt for various styles. For example, by widening the hem-wide of the basic H-Line skirt and then connecting its waist line and widened hem-wide, we can draw the A-Line skirt. Therefore, we have developed a program which can make a pattern for the basic skirt and can mae, with a slight change of he program, other patterns for various style as well. The objective of this paper is to identify and organize modules which will be used for developing a general pattern making computer system. This general pattern making system is a computer program by which we can draw a variety of apparel styles. This system is restricted to skirt pattern making only. there presentation scheme used in organizing these modules is an AND-OR tree, the one being often used in representing a complex problem in artificial intelligence domain.

• Journal of Families and Better Life
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• v.29 no.6
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• pp.27-39
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• 2011

The purpose of this study was to explore mediating effects of internal-external control between directors' servant leadership and teachers' emotional labor. The subjects of the study were 425 childcare teachers in Seoul, Gyeonggi province and Incheon in Korea. The statistics program used to analyze the data was SPSS(version +18.0). The statistics methods applied were the Pearson correlation coefficient, simple linear regression, and multiple linear regression. The major results of this study were summarized as follows: First, emotional labor and internal control caused by the servant leadership style were found to be positively correlated. Second, servant leadership affected the ability of the teachers to act naturally. These effects were mediated in part by the amount of internal-external control that was shown. Third, servant leadership affected the internal behaviors of the teachers. These effects were mediated in part by amount of the internal-external control that was shown.

• Korean journal of aerospace and environmental medicine
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• v.30 no.1
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• pp.40-49
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• 2020

In accordance with ICAO SARPs, the states should implement appropriate aviation-related health promotion for airmen subject to an aviation medical examination to reduce future medical risks to flight safety. We aimed to analyze the results of the aviation medical examination to use as objective evidence for establishing an aviationrelated health promotion plan. The results of the final issuance of airmen medical certificate from 2015~2017 were collected from the e-sky computer system. The 30 cases (0.3%) in 2015, 22 cases (0.2%) in 2016, 38 cases (0.3%) in 2017 were unfit for flight duty. The 34 unfit out of the total 90 cases were renewal physical examinations. The cardiovascular disease was most commonly in 11 cases, followed by 8 tumors, 4 psychiatric diseases, 3 ophthalmic diseases, 2 respiratory diseases, 2 neurologic diseases, 2 otolaryngological diseases, 1 endocrine disease and 1 digestive disease. The results of this study can be used as objective data in aviation-related health promotion plan. The health promotion activities based on objective data can contribute to improving aviation safety by improving the lifestyles of airmen.

• (The)Study of the Eastern Classic
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• no.49
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• pp.357-392
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• 2012

An author is bound to reflect his or her own thinking and inclination in his or her works. The previous studies on Changam(蒼巖), however, mostly discussed the aesthetics in the forms of his introductions and works, hardly addressing his thinking reflected in his works. Recognizing that he had the "reactionism tendency" unlike the Bukhak-School(北學派), which was the cultural mainstream of the days, this study examined the specific patterns of the reactionism calligraphy style in his learning and calligraphy processes and works. He loved to write xing-cao-shu(行草書) with a focus on the materials written in one's own calligraphy, but he also emphasized that one should obtain the force of his or her calligraphy style by mastering kai shu before calligraphy xing cao shu. He thus left a lot of works in the xiao kai(小楷) of the Wang Xzhi(王羲之) calligraphy style throughout his life, which is attributed to the influences of the calligraphers of dong-guk-jin-che(東國眞體) in the latter half of Joseon(朝鮮) and those of Lee Gwang-sa(李匡師), his master in spirit. He is distinguished from the other calligraphers of the times in that he made lifelong efforts to compensate for the lacking stroke of the pen in the model calligraphy of Wang Xzhi. In the calligraphy theory, he put importance on the traditional method of Han-Wei(漢魏) and took Cai Yong(蔡邕) and Zhong Yao(鍾繇) as the fundamentals. For da kai(大楷), he constantly practiced the with the stroke of the pen by added to it, the letters of Wei(魏) Wudi(武帝), by Yan Zhenqing(顔眞卿), and letters of Kim Saeng(金生). His late works using the intended conception of and , in particular, present his unique calligraphy style that added the crooked forms of to the shapes of characters of that were in the kai-shu(楷書) style. It is a limitation that a considerable number of calligraphy materials Changam studied or consulted were either reprint copy or block book rather than original rubbing edition due to time and space restrictions. However, it is also true that those restrictions made an important contribution to his creation of his unique calligraphy style with deep local colors at the result of his constant efforts.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.104-121
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• 2018

The purpose of this paper is to contribute to a more comprehensive understanding of the Buddhist art in Jeju which has rarely been in the mainstream discussions about the Korean art by focusing on the statues of Jabok Mireuk, or Maitreya of Wealth and Fortune. The Buddhist art in Jeju reached its heyday during the late phase of the Goryeo period (918-1392). The imperial court of Yuan (1271-1368) established Beophwasa, one of its guardian temples which was also a "complementary temple" of Goryeo (918-1392). In 1296, the community of monks based in Myoryeonsa Temple published the Jeju edition of the Buddhist canon granted by the royal court of Goryeo, contributing to the foundation of the island's academic culture. Other items representing the heyday of the Buddhist art of Jeju include the Vajra Guardian carved on the greenschist pagoda of Sujeongsa Temple built during the late Goryeo period and the Five-story Stone Pagoda of Bultapsa Temple made from the locally obtained basalt rock during the early $14^{th}$ century. The Buddhist art of Jeju during the Joseon period (1392-1910) is represented by Jabok Mireuk, or Maitreya of Wealth and Fortune, a pair of stone statues of Maitreya Buddha carved to feature three aspects of the Maitreya worship spread among the local folks in the period. Each of the statues is in a peaked cap and official's robe and characterized by bulging eyes comparable to those of the Buddhist guardian deities such as the Vajra guardian who were designed to protect a sacred area against evil forces. The Maitreya statues provide valuable sources of knowledge about the types of Maitreya adopted by the worshippers of local folk religion in the Joseon period. The Jabok Mireuk statues in Jeju can be easily compared with the Two Rock-carved Standing Buddhas in Yongmi-ri, Paju (1471), and the two standing stone Buddhas in Daeseongsa Temple in Okcheon (ca 1491) and on the Sipsinsa Temple site in Gwangju in that they all wear peaked caps in the "treasure canopy" style which gained popularity during the early Joseon period. One may conclude then that these statues are related with the Neo-Confucian elites who wanted the Joseon dynasty they established to prosper under the auspices of the Buddha of the Future. Interestingly, the enshrinement of the stone Buddha of Daeseongsa Temple is presumed to have been participated by Yuk Han who had served as the Governor (Moksa) of Jeju, suggesting its connection with the Jabok Mireuk despite the regional difference in their style.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.3
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• pp.121-132
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• 2010

The purpose of this research was to analyze the Korean Formative-Artistic Characteristics which were expressed by Hanbok designers. In this research, Hanbok style is a combination of two main things: formative-artistic factors of the Korean past, which naturally focuses on the peculiarity of the tradition and the modern aspects of clothing. Hanbok fashion is defined as all products created by Hanbok designers that incorporate traditional design factors, but do not follow it exactly. There are four formative-artistic characteristics of Korean designs in the Hanbok fashion. The first is the practical usage of the form and the second is the application of texture, color and patterns of materials which are synonymous with traditional Korean costumes; the third, by utilizing specific features, such as a the string of Jeogori(jacket), the round line of Jeogori sleeve, quilting, slit of Dofo (coat), the line of goreum and git (collar), the beauty of the Hanbok can be expressed in various ways; finally, the decorations added to the clothing, like embroidery, dying, patchwork, and beaten silver have been used to express Korean beauty in a modern sense. At the conclusion of the research, the study suggests the following recommendations to upgrade the Hanbok designs and the Hanbok industry. The first recommendation is that continuous design research be done for the development and popularity of the brand image; secondly, collaboration with specialists from other areas of fashion would be beneficial; thirdly, it would be a positive development if Hanbok designers studied Western clothing; and fourthly, Hanbok materials should continue to evolve and be developed.

• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.17-31
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• 2006

This study is tried to identify the changes in modern Hanbok for the past five decades through the literatures and actual materials such as the First Ladies' costume. In Hanbok fashion, there is a trend that influenced by politics, economy and culture just like in western fashion. After liberation from the Japanese colonialism, the most important factors in Hanbok fashion were economic factors caused by the development of textile industry and the dressing attitude of the First Ladies at that time. In 1950s, a modified Hanbok that is easy to wear was popular. It was partly because of the west oriented atmosphere after the Korean War and mainly due to the practical dressing attitude of First Lady, Francesca. In 1960s and 70s, former First Lady Yuk Young Soo who loved and had good taste for Hanbok led the fashion. At that time, high ranking female social leaders as well as general public usually wore Hanbok on formal occasions. Therefore, textile industry for Hanbok developed a lot and tailored shops that specialize Hanbok emerged. In 1980s, as the economy got better, Hanbok was upgraded and it became more luxurious. Traditional Hanbok was revived through a historical investigation. Additionally, the former First Lady Lee Soon Ja helped fostering a luxurious mood as she wore a Hanbok as a formal dress. After 1988 Olympic Games were successfully held, the importance of the traditional culture was emphasized in 1990s and Hanbok followed retro trend rigorously through the academic approaches including a dressing history. Hand painted and naturally dyed Hanboks were strong in this period. Former First Lady Kim Ok Sook's sophisticated Hanbok attire partially had effect on this mood. However, From the late 1990s Hanbok became less popular. It was partly because the former First Lady Son Myoung Sun and Lee Hee Ho preferred western style dresses and did not play a role as Hanbok fashion leaders.

• Journal of the Korean Society of Food Culture
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• v.36 no.1
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• pp.1-27
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• 2021

Eumsikjeoljo (integrity with food) originally came from the Andong district, where the Goseong Yi clan inherited a cookbook from their ancestor Lee Jeong-Rong (1798~1871). The cookbook was written in an antiquated style and is estimated to have been written around the year 1865. Details of the era and authorship are seldom available for the extant ancient cookbooks. The authors of these books and the period during which these books were precisely written were studied through the Eumsikjeoljo which is a repository of 46 cooking disciplines. Of these 10 deal with the practice of traditional Korean crispy snack making, 4 with rice cake making, 3 of the yeonbyeong kind, 19 examples of Korean side dish making, 6 recipes of the kimchi variety, 2 examples of paste-based recipes, and 2 instances of instructions on how to make vinegar-based extracts. Also, in Eumsikjeoljo, there are descriptions of 29 different ways to brew rice wine. Of these, Danyang wine among the Leehwa wines and 13 others account for over 44% of the content. Leeyang wine and Sogok wine are represented by 10 different varieties and constitute around 34% of the entries. Samyang wine and Baek-il wine, along with 6 others, constitute 21% of the entries. The secret recipes of the Goseong Yi clan in the Andong district were recorded so that they could be transferred to the descendants of the clan. An inspection of the recipes and wine brewing techniques recorded in Eumsikjeoljo provides a clearer picture of the mid-1800s Andong noble family's traditional food habits and simultaneously sheds light on the late Joseon dynasty's food culture.