• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.4
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• pp.105-116
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• 2021

Pillows are tools that humans have used for a long time to sleep or lie down and rest. It is bedding, and the oldest literature dealing with it is Volume 29 of 'GoryeoDogyeong', which describes embroidered pillows. The oldest relic is the queen's pillow (National Treasure No. 164) excavated from the tomb of King Muryeong, and is in the Gongju National Museum. This study attempts to investigate and reproduce the materials used in traditional pillows Yukgol pillows and pine nut pillows designs are based on literature and artifacts from the Joseon period to modern times. Regarding the research method, after reviewing literature and the relics of traditional pillows, the process of reproducing the traditional Yukgol pillow and the pine nut pillow production method were explained step by step. This study found the plain attitudes in the lives of people who used materials that could be easily gained from their daily lives in rural communities oriented to rice farming never recklessly threw out any piece of cloth or cotton and use it for pillow stuffing or pillow ends. Also, the sophisticated sense of aesthetics that you can see from the pine nut pillows, whose ends were made of remnants from making clothing are exquisitely similar to what was shown in patchwork previously. The biggest meaning of restoring traditional pillows was looking into traditional culture, particularly the ordinary people's living culture. It was very difficult because the researcher had to find materials that were difficult to obtain in this age, the making process was complex, and it took much time; however, it is significant in that the restoration of traditional pillows allows for the succession of tradition.

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.118-121
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• 1999

Traditional housing must be conserved simultaneously with not only the building itself, but the circumstances of the surroundings. Hence, traditional housing should be developed as a product of a culture environment. However, most cultural properties have recently been treated as only a piece of property by irresponsible maintenance practices and damage placed on private traditional housing. Apparently, it has not always been a result of dweller's negligence. Thus, various policies must be needed to effectively preserve traditional housing. To do so, this study will indicate a new direction for the circumstance of preservation through cultural employment of traditional high-class housing as well as reduce maintenance and damage for dweller's convenience. Furthermore, this study will propose a renovation for popularization of Korean cultural assets through the gradual implementation of both economic value and public worth.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.100-107
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• 2014

Traditional architectural space, which is a historical cultural heritage must be connected mutually as a organic flow of various elements such as the environment of the time, political background and values, rather than approaching with fragmentary point of view. The Silhak Philosophy, the basis of late Chosun society developed equity thoughts on the basis of ideology of humanism, and it asserted the promotion of technology and industry as a measure to realize the pursuit of truth which is practically useful. Thus, we could verify the possibility of convergent interpretation of cultural technology of Hwaseong architectural space through the humanistic viewpoint of pioneer spirit of Silhak Philosophy which regards human as a main agent of desire of life, and the pursuit of truth which is useful for reality, and the realization of ethical value by aesthetic practicalism. Based on this, the ontological meaning and value of Suwon Hwaseong by the viewpoint of convergence of culture and technology have been drawn as the construction of planned new town by the practice of filial duty, the plan of city space based on rational values, the realization of a metropolis where self-sufficient economic activities are possible, the introduction of thorough construction management system, the introduction of advanced culture and its creative application, and the application of scientifical knowledges and cutting-edge technology.

• Journal of the Korean Society of Food Culture
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• v.23 no.1
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• pp.73-89
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• 2008

Muck (Korean traditional starch jelly) is very unique and the one of the oldest starch processing traditional food. The typical ingredients for making muck such as acorns, mungbean and buckwheat have been eaten since the new stone age or even before that era. This study was for investigation on the history of muck and its processing methods in the ancient and the modern culinary literatures from the 1400’s to 1900’s. The summary of the reviews was as follows. In the ages from the 1400’s to 1700’s, using starch powder, Se-myon and Chang-myon were made and their shape were like noodles instead of cubical shape. It was after the 1700’s that muck making methods were revealed in the literature, like ${\ulcorner}Gyeong-do-jabji{\lrcorner}$ (1730) and${\ulcorner}Go-sa-sib-e-jib{\lrcorner}$ (1737). The naming of muck might be from the time after 1800’s, in${\ulcorner}Myoung-mul-kiryak {\lrcorner}$ (around 1870) the basis of the names of Choeng-po (white mungbean jelly) and Whang-po (yellow mungbean jelly) could be found. One of the most well-known muck dish, Tang-pyeong-chae, was recorded many old literatures, so it was found that Tang-pyeong-chae was very popular and governmental policy of Tang-pyeong-chak influenced the food of the common people. In ${\ulcorner}Shi-eui-jeon-seo{\lrcorner}$ (late 1800’s) there were records of several types of muck and starch powder making methods in detail which were handed down to the modern ages.

• 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.

• Archives of design research
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• v.19 no.4 s.66
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• pp.111-120
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• 2006

These days, contemporary people's interest in culture is higher than ever, and in response to such a current trend, each country is making efforts to search for its identity in various areas, and conducting research to compare its culture with that of other countries. The culture of a region does not develop independently or spontaneously, but it changes and evolves in connection with neighboring countries or cultures. Thus, in order to understand our own cultural characteristics properly, we need not only to make an in-depth study in our own culture but also to compare it with other cultures and understand their similarities and differences dearly. From old times, Korea, China and Japan have had great influences on one another through active socio cultural exchange and at the same time they have their own unique cultural characteristics. Unfortunately, however, the distinguished identity of Korean culture has not been recognized properly. The present study purposed to classify Korean, Chinese and Japanese traditional furniture from the $14th{\sim}19th$ century by type, and compare their characteristics by type as well as their general formative characteristics. This research is expected to improve our objective understanding of our own culture. Furthermore, it will provide a ground for reinterpreting our culture to distinguish Korean culture from Oriental culture.

• Journal of the Korean Society of Food Culture
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• v.13 no.5
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• pp.461-474
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• 1998

The purpose of this study is to investigate the patterns of Korean traditional food use in the households of middle aged women living in Kyunggido and Incheon area Four hundred eighty seven housewives whose children were in middle school answered the questionnaire about Korean traditional food use patterns in ordinary days, national festive days and in private celebration or memorial days. Most households have used Korean traditional table setting called Bansang as daily meals(96.7%) and have used home-made Kimchi(97.3%). However, the use of home-made Jang such as soy sauce, soybean paste and red pepper soybean paste was not very high(64.3%). Most households have celebrated New Years day(99.6%) with Ddukguk and Manduguk, Chusuk(95.1%) with Songpyun, and fruits, Full-Moon day(95.1%) with Ogokbap, Namul and Brum. Dongji was celebrated with Patjug by 73.3% of households. However, Samjitnal and Danho were celebrated with Whajeon and Ssukjulpyun by only 18.9% and 43.8% of the households respectively. The households using Korean traditional food to celebrate the birthday, the 1st birthday of child, the wedding or to memorize the passing day of ancestors were 96.0%, 80.7%, 81.3% and 86.7% respectively. Compared to households of urban and nuclear family, households of rural and extended family tended to use significantly more Korean traditional foods in many occasions and showed significantly higher rate of using home-made Kimchi and Jang.

• The Research Journal of the Costume Culture
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• v.27 no.2
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• pp.140-153
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• 2019

The aim of this study is to develop new wedding dress designs by blending the traditional female Korean upper garment of Han-bok, known as dang-ui, with Western-style wedding dress designs. For this research, the author considered the various types of wedding dresses and their historical development based on literary resources and previous studies of the subject. The results are as follows: first, this study featured the use of different types of fabric for the dang-ui, selected from the various fabrics available for wedding dresses. Starting from the basic design of a sleeveless and strapless princess-line tight top, three different styles of A-line dresses were created: a tiered long dress, an unbalanced tiered midi dress, and a spangled and pleated mini dress. The study also resulted in a tight H-line mini dress with a bustle. In this way, the author was able to suggest new wedding dress styles that are well suited to the cultural trend of the Korean wave. Second, the traditional Korean dang-ui is an elegant ceremonial garment that harmonizes well with Western-style wedding dresses. Satisfaction can be found from combining these creative fusion gowns with traditional Korean aesthetics. Third, the traditional Korean ceremonial coronet jokduri and veil, which go well with dang-ui wedding dresses, are suitable accessories for contemporary wedding dresses. The dang-ui wedding dress, a result of merging the Korean dang-ui and the Western style, will help enhance business for both the Korean and the international wedding industry thanks to an aesthetic that has global appeal.

• Journal of architectural history
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• v.8 no.3 s.20
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• pp.53-64
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• 1999

The subjects of the research is the architecture expressed traditionality from the time of the Open Port on, including North Korea region. The scope is divided into three periods; the first is from the Open Port to the Rehabilitation (光復),1945, the second is from then to 1960, and the last is from 1960 to the present. The expression of Koreanity(韓國性) should be concerned with the states at the time. In the beginning of the first period the alienate culture and the new modern facilities, like electricity, telecommunication system, train service, etc., rushes to Korea and the traditional architecture accepted the most of the new-comings; therefore, the original form was transformed. That seems to be the beginning of the discourse on traditionality in Korea architecture. The expression was showed up in four parts: ${\bullet}$ Korea traditional architecture accepting the foreign culture and the modern facilities ${\bullet}$ the compromise between foreign and traditional architectural form ${\bullet}$ the compromise between the Modem and traditional architecture ${\bullet}$ the Imperial Crown Style(帝冠樣式) which is the eclectic architecture with transformed roof. The figurative expression in the present architecture was showed up in roughly two parts: ${\bullet}$ the traditional form directly depicted wholly / partially ${\bullet}$ the abstract traditional form wholly / partially Moreover the results on the research traditional architecture have been collected, the principles have been drawn out. Especially the first beauty is not on form or figure of a building but on the composition of architectures and the harmony of the natural circumstances and architectures. So many contemporary architects make efforts to apply the principles to the composition and formation of current architecture.

• Journal of the Korean housing association
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• v.22 no.3
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• pp.59-71
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• 2011

The purpose of this study is to investigate the basic historical characteristics and its modern trend of Torajan traditional housing architecture in Sulawesi Province, Indonesia. The Toraja culture belongs to the cosmological culture with Cosmos centric characteristics. A traditional house, being called 'tongkonan' in Toraja region, is more than just a structure, representing the symbol of family identity and tradition. The Torajan architecture is a combination of the myth and cosmos, also regional conditions. With a short description of the general conditions and spiritual values of the Toraja, this paper explains the space-composition, the stylistic characteristics, the ornamental elements, construction, and its modern trend, etc. In general, it is raised on stilts several metres high, with a dramatically boat-shaped roof. Village layout varies according to size. The houses are arranged in a row, side by side, with their front gables facing north. Each house stands opposite its own rice-barn. The houses with their oblong ground-plans, built on piles set on stones. The interior is divided into three or four rooms, having few window. The houses are embellished with carving and paintings, and the facades display engraved and painted geometric and figural designs. The most frequent motif is the buffalo head, ranging from the realistic to the highly stylized. The Torajan traditional housing have experienced radical changes during the Modern period. In spite of the popularity of new modern house-styles, the traditional architectural style is often now constructed as an icon of Toraja identity. This paper will be helpful for understanding regional diversity of the traditional housing in Southeast Asia.