• 한국식생활문화학회지
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• 제14권2호
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• pp.115-129
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• 1999

The following demonstrates similarities between Japanese and Korean food culture. The facts have been discovered through the examination of records kept by Korean Communication Facilities and Japanese Envoys. Both countries used the numbers 7, 5, 3, in food treats. Both demonstrated Da do(茶道) style during banquet. Japanese Na-ra-dae(奈良臺) is similar to Korean Sue-bae-sang(壽杯床). Both countries had a Kan-ban(decorative table, 看盤) and Mi-soo(wine and someatables, 味數) during banquet. The composition of the table may be the same for both Korean Geo-sick-oh-kwa-sang and Japanese 3Jeup(soups) 15Che(dishes). Agasang is a Kan-ban(decorative table) of Choson's Da-do(茶道) style.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2001년도 춘계학술발표대회 논문집
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• pp.86-89
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• 2001

Popular in the 1990s, Western Minimalism declined in popularity in the end of the century while the Oriental Mysticism and the Oriental Minimalism called “Zen Style” appeared. Fusion and Oriental Minimalism, both of which pursue traditional beauty and the essence of functionality and beauty, are combined with Japanese elements. As Oriental Minimalism is oriented towards Japan and China, we should consider the Japanese modernization process. Japan internationalized their own traditional elements after modernization. On the other hand, we only focus on tradition in a view of modernity, Japan developed their own culture whereas we followed the Western influences and trends after our culture and social structure were destroyed because of the civil war. Therefore, the aim of this paper is to find out the possibility of culture variety in interior design from the Japanese samples which modernized their culture in various sights. In other words, I researched and analyzed the expressive trends in Japanese Contemporary interior design, architecture and similarity and difference between Korea and Japan.

• 한국의상디자인학회지
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• 제10권3호
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• pp.15-25
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• 2008

Today, each country's cultural communications are carried briskly and Japan already showed a new trend of world fashion by accepting its own design with aesthetic sense to western Europe in 1970s and built the new area of Japanese fashion. This special traditional aesthetic sense, formed by social, cultural, geographic and religious conditions, is roughly divided into decorated and undecorated beauty; decorated one means splendidness, coquetry, exaggeration and was represented ornamental modification of nature object in dress pattern as ornamental expression means; undecorated one, based on Zen-thought, means simplicity, purity, ugliness and Japan gave rise to the new beauty by receiving and adapting continental culture to its culture openly and creating and developing its own beauty. This study aims to examine the aesthetic sense shown in Japanese traditional dress and understand how traditional beauty is used and applied to modern fashion and analyze the diversity of Japanese traditional aesthetic sense shown in modern fashion. For material analysis, total 220 were collected of photograph related to formative element existence according to aesthetic sense shown in Japanese traditional fashion design using literature research and visual data. The existences of Japanese image among them were confirmed by clothing and fashion department majors so that 7 pieces of which were selected as final analysis object. Likewise, the result suggests that Japanese traditional aesthetic sense creates global design based on folk element-used identity as well as new beauty by adapting continental culture to its culture openly and producing and developing its own creative beauty.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.11-20
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• 2004

F. L. Wright was, from his early days, influenced by Japanese Culture and endeavored his original concept of orgonic orchitecture. In his 1st Golden Age, he devoted to establish an architectural concept of Organism which was proved by the theories of New Science and also had been universal in ancient Orient. Later, in his 2nd Golden Age, he tried to embody his unique concept in prairie houses and office buildings. The organic structure and spatial unit that actually applied to these works, were good examples of realization of the simplicity and continuity which he found out in Japanese culture. This paper is to study on the influence of Japanese culture on a course of Wright's embodying his organic architecture, and to study on a way of its realization in his works. To be concrete, main contents of the study are as follows; 1) the relationship between Wright's integrate perception and the orientalism 2) the influence of the traditional Japanese painting like woodblock prints and the aesthetic theory of the traditional Japanese pictorial art on Wright's design principles 3) the influence of Wright's experiences in Japan on his design principles 4) the influence of Wright's analysis of the traditional Japanese dwelling on his design principles 5) the course of Wright's embodying his organic architecture concept, and the way of its realization in his works.

• 복식
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• 제54권3호
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 대한가정학회지
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• 제23권2호
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• pp.1-11
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• 1985

RESULTS : Considering the archaeological evidences, it is velieved that the southern culture centered in KuSu and the Nothern Culture centered in the centeral Japan, specially at the estern Japan, existed together with the culture come through the southern regions and northern regions of Japanese Islands in Jomon Culture and Yayoi Culture period. As the center of territory moved from KuSu to GiNae in Tumulus Culture period, two-pieced style of the northern people who have already there became prevalent. The costume of Tumulus Culture period was developed from the coexistence f southern style and northern style to the merge of the two styles by the nomads come from Korean Peninsula. The riding costume was propagated by Koreans, and the style used in Korean Peninsula was more deeply influenced to the costume of the ruling class. The costume of Asuka Culture and MakuHo Culture period succeeds the costume of Tumulus Culture period without wide difference. But the costume of Korean Peninsula lied more deeply as the root of Japanese Costume. While the costume of the ruling class was changed into Tang's style, the costume of the masses was under the influence of the costume of Korean Peninsula. It became the base of current Japanese Folk Costume.

• 복식문화연구
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• 제7권1호
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• pp.27-37
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• 1999

The results of this study are as follows : 1. Though Korean college women have taken unfriendly attitudes and thoughts to Japan, they have enjoyed themselves over the various Japanese cultures. 2. They have thought that Japanese fashion becomes popular in Korea, Japanese clothes are superior to Korean clothes in quality, and they are suitable to express personality. 3. Japanese clothing elements which become popular now in Korea are the clothing style of ‘school girl-look’, ‘Avant-garde’, punk hair style, and the various shapes of shoes, accessories, and make-up.

• International Journal of Costume and Fashion
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• 제10권1호
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• pp.1-13
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• 2010

Japan is an advanced Asian country with a young, visual and stimulating culture that fascinates even western countries. The aim of this article was to provide an in-depth understanding of youth subculture as a medium of interpreting contemporary Japanese society and fashion, and understanding the values of Japanese youths today. The study of Japanese culture, youth culture, and Japanese youth subcultures of the 2000s and their clothing styles are based on documentary research and internet research, including a wide range of books and dissertations, and English, Korean and Japanese websites. It studies the unique youth subcultures of the country from the perspective of a Korean researcher who lives in a more fashion-conservative neighbouring country.

• 한국식품영양학회지
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• 제29권2호
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• pp.218-227
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• 2016

This study was undertaken to examine the knowledge about food culture and intakes of traditional food in Korean and Japanese elementary school students. In 2012 and 2013, a total of 265 students were surveyed, consisting of 73 Korean fifth graders and 192 Japanese sixth graders. The questionnaire comprised of queries on general items, the recognition and sampling of traditional and celebration foods, the knowledge about the partner country's food culture, and the frequency of consuming the partner country's foods. As a result of this study, the frequency of consuming their own country's traditional foods for Korean children (3.1 out of 5.0 points) and Japanese children (3.2 out of 5.0 points) was similar to each other. Japanese children reported to eat Korean foods (2.9 points) more frequently than those of Korean children to eat Japanese foods (2.4 out of 5.0 points) (p<0.001). However, the Korean children reported to have more experience on given typical Japanese foods than Japanese children reported about Korean foods. Further studies are needed for the perception on traditional foods in Korean and Japanese children. The results of this study can be used as a basic data to succeed and develop traditional food cultures.

• 한국도서관정보학회지
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• 제24권
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• pp.335-364
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• 1996

The colony education policy of Japanese Empire was, as a su n.0, ppression on national salvation education of Korean, on the one hand it was liquidation of Korean national spirit and other hand, it has the object to Japanizing Koreans through cramming Japanese language and its culture. During the Japanse occupation of Korea, the libraries had two roles, one was to press Korean and its culture and the other was to civilize Koreans for Japanizing. The purpose of this study is to examine the role of rural-mini libraries whether the former or the latter. From 1932 to The Chosun Governor- General Department (Chosun Chongdokboo) actively spread 'The Movement of Rural Development in Korea. At the same time there were many rural -mini libraries in Korean rural and fishing community. Under the colony of Japanese Empire, colony policy was itself very tough that Japanese Empire did their utmost ideas to win Korean culture over and Japanzing Korean with every possible pressures. Since rural-mini libraries were planned by the chosun Governor-General Department, however, were established by Korean themselves with the property of local education center( Hyanggyo). Therefore, rural-mini libraries were as facilities to promote rural economic development for providing Japanese with some materials which need to conduct a war, and to introduce local people to participate in civilizing activity themselves and farmers and fishermen were forced to group to be educated in Japanese language and its reading. Rural-mini libraries were, as it were, not as facilities for enlightening Korean peoples but as facilities for civilizing Koreans.