• 한국식생활문화학회지
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• 제20권4호
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• pp.459-467
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• 2005

The purpose of this study is to provide useful information for establishing desirable table manner culture by investigating the perception, practice of traditional basic table manner. The subjects were consisted of 1,261 participants(618 males and 643 females) in Daegu and Kyungpook. The recognition, practice of traditional basic table manner were measured on the five-point Likert scale. The results were summarized as follows: The overall recognition score on ordinary table manner was 3.74 points, and of methods and kinds of dinner services was 2.99 points. The education score on table manner of parents for sons and daughters was 3.66 points, and the necessity score of table manner was 3.92 points. The scolding score of adults for table manner was 2.79 points, and cooking score of side dishes for adult was 3.25 points. In result of analyzing difference between perception and performance of traditional table manner, perception is much higher than performance. Respondents consider that the most perceptional and performant traditional table manner item is 'eating foods inside mouth by not seeing and rushing out'. Meanwhile, 'eating and taking some foods from a main dish' was the lowest perception and performance. The total recognition score on traditional table manner was 77.78 points, and the total practice score on traditional table manner was 71.72 points.

• The International Journal of Costume Culture
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• 제3권2호
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• pp.100-123
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• 2000

The purpose of this research was to understand changes in Korean shrouds and to enhance practical usage of them by examing the items and shapes of Korean shrouds classified into two categories, traditional and current. We first examined the history of shrouds and funeral ceremonies from the prehistoric age to the Chos o n dynasty, and second, examined the items and shapes of traditional and current shrouds. As for the items, no big changes were recognized though there had been some changes in the way of using Keum(衾), Po(袍), and Kwadu(裏　). Overall, the items had becamesomewhat simplified The traditional shapes of shrouds are relatively well-maintained despite some changes in current shrouds Aksu, Yeomo(女帽), etc, which had been made easier to put on.

• 패션비즈니스
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• 제23권2호
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• pp.124-139
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• 2019

The purpose of this study was to examine the characteristic expression of Korean traditional costumes shown in the Korean paintings by Kim Hyun-Jung. The study analyzed the paintings by Kim Hyun-Jung to find out the characteristics of the contemporary Korean paintings and the expression of Korean traditional costumes. The characteristics of Kim Hyun-Jung's works are as follows: 1) The paintings are drawn by using Korean traditional painting methods and finished with Korean traditional paper, hanji. Moreover, they show the Korean traditional costume as main subject material. 2) They use modern painting methods, such as collage, and show pop art characters by use of contemporary popular products. 3) The artist communicates with the public through SNS and YouTube, and shows characteristics of popular art through commercial art products and advertisements. The characteristics of the Korean traditional costume in Kim Hyun-Jung's works are as follows. 1) The hanbok shown in the paintings is a traditional style with tight jeogori and wide chima. Chima is drawn in thin coloring with Korean ink and jeogori is expressed with semi-transparent hanji in various patterns and colors, which shows the subject 'coy'. 2) Various kinds of Korean traditional accessories and modernized flower shoes with high heels are shown as subject materials. The art works by contemporary Korean artists are expected to be the route to give valuable information to the public about Korean traditional costumes as well as the trendy Korean culture.

• 한국식생활문화학회지
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• 제19권5호
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• pp.556-565
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• 2004

This study examined dietary culture in Korea regarding collectivism through literature review. Based on the evidence from the origin of lineage and traditional customs, the Koreans' traditional collectivity appeared to have been grounded upon the northen nomadic culture emphasizing sentimental collectivity and harmonized with the characteristics of southern agrarian society related to mutual support and sociability. The inseparable relationship between collectivity and food was well revealed in the occasions such as rice-planting, kimchi and jang makings in which pooled labor was common as well as the gathering of mutual aid association. In these occasions, foods were offered and shared among members. Food sharing was a main activity and almost play a central role regarding the promotion of friendly relations among each other. In sacrificial memorials, food sharing was extended not only to the live persons but also to the passing spirits. Collectivity was also disclosed in the eating or table manners of Koreans. Koreans quite literally share food at every meal since the side dishes placed centrally on the table. The taste of Korean foods is completed inside the mouth by mixing foods with various combination, which let people create their own choice of taste. Therefore, the collectivity manners at the table appeared to be harmonized with individual freedom of creating his/her own taste of foods. The collectivity is still a very important concept in modem Korean dietary culture, as reflected by an increase of restaurants sewed shared dishes.

• 한국가구학회지
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• 제25권3호
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• pp.155-164
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• 2014

The culture of Korea shows political and religious discrimination by changed the era, but in the culture the inherent spirit of Koreans has been more specific at various angles to. But in the last several decades looking at the domestic furniture design field, the introduction of Western technology with high-tech, the mechanical plastics of modern Western European furniture, and imitations have been flooded. Owing to them our spirit were soon altered and made to face the current leads to confusion. Fortunately, in the latest national and international design fair the domestic furniture companies are breaking the ambiguous identity of the design in the meantime they keep studying and developing of our spirit and the demands of the times. Moreover, a new awareness and heightened interest on Korean traditional and stylish furniture are more elevated. At this moment, a study on the Connectivity of Aesthetic Consciousness Appearing in Korean Traditional Architecture and Furniture is required to overcome the today's confusion and to establish identity and the direction of the domestic furniture industry. Thus, this paper purposes to present the new direction for domestic furniture industry by researching and analyzing on the Korean traditional architecture and traditional furniture with the Korean spirit and a sense of beauty.

• 한국식생활문화학회지
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• 제3권1호
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• pp.95-99
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• 1988

식품 압출 성형공법을 이용한 전통 식품의 가공 및 개선에 관한 국내 연구 동향을 조사 평가한 것이다. 여기에서는 특히 Extruder를 이용한 미강안정화공법, 즉석 떡 제조법, 곡류를 기질로한 젖산 발효 음료 및 탁주 제조법에 관한 연구 결과를 다루었다.

• 한국감성과학회:학술대회논문집
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• 한국감성과학회 2012년도 춘계학술대회
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• pp.138-139
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• 2012

• 패션비즈니스
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• 제23권1호
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• pp.49-63
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• 2019

The purpose of this study is to examine the characteristics of modular design observed in Korean traditional clothing. Modular design, which is one of the noticeable characteristics of modern fashion design emerged in the 20th century. This study analyzed the Korean traditional culture to investigate the characteristics that show similarities to the modular system in design. A traditional Korean house is composed of small structures called 'chae'. A traditional Korean building is composed of a basic unit space called 'kan', and the rooms are divided and recombined. Korean traditional interior design shows furniture, bedding and art works that could be used, folded then stored. Korean cuisine is served in combination with small dishes. Korean letters are combined in square shaped form to make writing and printing easy. Korean traditional clothing has a way of washing where clothing are disassembled, washed and then re-stitched. The pattern pieces are made to be rectangular shaped so that the fabric pieces can be kept in shape during washing. The rectangular shaped pattern pieces can be replaced and reused after washing. Tops and bottoms could be interchanged for color-coordination, because the shapes of the clothing were standardized. These features exhibit modular system in Korean traditional clothing design. Modular system design has common characteristics which have basic modules, pursue practical purpose, have interchangeability adapted to circumstances, and could be disassembled and re-combined. Korean traditional clothing illustrates different ways of practicing modular system, but has some common features to contemporary modular fashion design.

• International Journal of Costume and Fashion
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• 제8권1호
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• pp.75-84
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• 2008

This paper starts with the assumption that in order for hanbok to be made known to the world as a cultural code representing Korean beauty, it must first be made familiar among Koreans with opportunities for widespread use of hanbok in a way which forms an understanding with the fashion sense of young generations, and that wearing hanbok must be promoted. We observe the contents and problems of past hanbok festivals and provide methods to promote the wearing of hanbok among the population, creating an occasion for mingling with various cultures in hanbok events which may be experienced by the general population, and developing hanbok as a tourist item and promoting the hanbok industry through standardized hanbok festivals. Globalization of hanbok most occur through a combination of related academic fields, division of roles in fields of expertise, and a scientific understanding of hanbok. The re-creating of traditional hanbok will allow for affirmation of Korean image, a rediscovery of the value of Korean culture, and the establishment of cultural identity. The development of such global designs will form a foundation for hallyu wave culture within popular culture.

• 복식문화연구
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• 제10권1호
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• pp.13-27
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• 2002

Applying H. Gans' taste culture theory to the comtemporary fashion phenomena this study had an object to classify the fashion phenomena in Korea and Japan from 1995 to 1999, and look into and compare them. First of all, the characters of each fashion group of the two countries show that the details of the Korean traditional costume are grafted into the most popular style in each season in Korean high fashion and oriental look used the formative method far Japanese traditional costume and Tokyo street style are reflected in the Japanese high fashion. Mass fashion in Korea equally comes under the influence of European high fashion, Korean street fashion, and Japanese mass fashion, And mass fashion in Japan reflects European high fashion and japanese street fashion. The Street fashion in Korea was affected by Korean entertainers'fashion, 'Tongdaemun market fashion' in Seoul, and Japanese street fashion. And street fashion in Japan is also affected by the pursuit of powerful personality, the absolute imitation if Japanese entertainers' fashion, and 'Tongdaemun market fashion'. All of two countries exercise considerable influence over mass fashion each other.