• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.95-109
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• 2003

The style of different styles of clothing have been developed by not only the natural environment and social effects. but also by various variables such as the peculiar cultures and religions of different ethnic groups. It is naturally accepted without question that the origin of trousers was derived from the Skytie race in the modern style of dress. And the style of those trousers has changed and developed throughout a long history in different environments and surroundings. As part of the research of the process in this styles of clothing, it is essential to know how the fabric of trousers has been developed and how the styles have been changed because of different weather conditions and different religions. Nowadays, Eurasian countries was scattered from western and eastern Asian countries to middle Asian countries such as Russia, Uzbekistan, Kazakistan, Turkey, Turkmenistan, Iran and China. These countries are located on the way to the Silk Road. They are fully developed in a cultural area among the different religions. In terms of cultural aspects within the different religions, men's trousers had developed the traditional style of this dress as one of the importnat items on the cultural basis. The ranges and types of these traditional trousers are divided by the regions, such as west and southern Asia, central Asia and China. Pakistan, Afghanistan, Iran, Iraq, Syria, Lebanon, Turkey. Jordan, Saudi Arabia, Kuwait and Israel was a part of the west and southern Asian countries which were located between western countries and eastern countries. This tribes wore Shalwar trousers which is a wide style of trousers. Shalwar in the western and eastern Asian region has a specific feature by the each nation but has the same distinctions such as by using very wide and loose style and tying a fine thread around the waist. Some central Asian countries consisted of part of China, Turkmenistan. the Republic of Tajikistan. the Republic of Kyrgyzstan and the Republic of Afganistan. These style of trousers are compound types which appeared with mixing Draperian Greek culture. So it can be inferred from this data that the horse-riding nomadic trousers which had been handed down from Skytie tribe through Persia. The style of the trousers in those regions has small pieces. The style of the trousers in China, which is located on the way to the far eastern countries, has developed new trousers put together two pieces of the textile. These widen trousers can be worn by using a sash belt. So we can find out that those trousers of countries which mentioned above have a common point and a rule.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.52-67
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• 2021

This study is an attempt to explore the roles of and the collaborative relationship between Daheojang and Maedeupjang. Daheojang and Maedeupjang share a similar manufacturing process. However, in modern times, Daheojang totally disappeared, and Maedeupjang was designated as an intangible cultural property. The present study will investigate the role of Daheojang and Maedeupjang based on the literature of the Joseon dynasty. Daheojang were craftsmen who made bands and strings of woven or twisted silk strands. They made mangsu and tassels or made knots to produce magnificent artifacts. Maedeupjang complete all steps of the process, from refining, dyeing, combining threads, daheo, maedeup, to the tassel. Daheojang in the Joseon dynasty was the center of this process. Daheojang belonged to almost all Uigwe because it used items ranging from large uso to cushion straps. Dahoe is a craft with various items and techniques. It has been widely used to produce majestic items like formal dresses, ritual ceremony pieces, and mountings, as well as daily items like jodae, pocket straps, and norigae. Based on the records of Uigwe in the late Joseon dynasty, the study explored the collaborative relationship between Daheojang and Maedeupjang. Sambang, the room where both Daheojang and Maedeupjang belong, was the room to produce the royal chair. The royal chair essentially includes large uso. The large uso is an artifact that ties a knot in a thick circle more than two meters long. While Daheojang made rounded daheo, Maedeupjang made delicate and balanced knots. Also, they produced royal inscriptions together with a royal seal with decorative mangsu and a seal of thick rounded daheo. In order to learn about traditional technology, it is necessary to study the system of the times and social trends. Therefore, the study focused on Daheojang, who were common master craftsmen during the Joseon dynasty but now are not familiar to most people.

• Journal of Fashion Business
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• v.2 no.3
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• pp.137-156
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• 1998

In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.

• Science of Emotion and Sensibility
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• v.21 no.1
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• pp.99-114
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• 2018

Saekdong is a unique Korean fabric that has been used since ancient times, and it is woven with the plain or satin weave so that vertical stripes appear by various colored warp threads of equal spacing. Saekdong means pleasure, joy, serenity, heavenly blessing, spirituality, wind, and abundance, expressing the optimistic and positive sentiment of Korea's forefathers. This study investigated how ancient Saekdong occurred with meanings. As a research method, this study used literature review and surfing newspapers and photographs, museum and internet search, even from other fields such as earthenware, bronze, and traditional dance. We collected Saekdong and the lifestyles of ethnic Koreans living in China, investigated the Asuka culture of Japan, and the tomb murals of Takamatsu-Chong, which are Baekje and Goguryeo settlement areas. The results are as follows: First, it expresses happy occasion, pleasure, and joy, and expresses a desire for good things to be repeated and lasting. Second, it symbolizes simple beauty, order, equality and harmony of many tribes. Third, Saekdong is life and power which represent a sacred, heavenly, mysterious bird. Fourth, it symbolizes abundance and wealth, rain, wind or fields. Finally, this study showed the brilliance and pride of Korean hanbok through Saekdong. The significance of this study is to examine the symbolism and inherent aesthetic characteristics of Saekdong and to show the unique value and spiritual heritage of the Korean people.

• Korean Journal of Heritage: History & Science
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• v.44 no.3
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• pp.4-17
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• 2011

The Baekje's cotton fabrics were excavated from 'Neungsan-ri temple site in Buyeo' (September 1999-April 2000) and stored at Buyeo National Museum after conservation treatment. In this study, it carred out non-destructive, chemical and morphological analysis for fiber identification, also considered on influx, features and difference between the 'Baek-cheop-po(Three kingdom period's cotton fiber)' and 'Mok-myeon(imported by Munikjeom, late Korea dynasty)'. As a result, the fiber proved cellulose fiber through analytical researches like color reaction, FT-IR(chemical analysis). It was also confirmed lumens, typical dimensional structure(morphological analysis) as an features of cotton fiber. The fiber was the first evidence in ancient Korea's cotton. But it can not prove that whether weaving were made in Baekje's area. However there were documentation that people in Beakje make cloth to silk fabric from 'Mahan period'. We can suppose that they have had an old weaving techniques. This study has a great historical, academic values as the only evidence for the hypothesis of a weaving technique of the Baekje's cotton. Through comparison to each region's ancient cottons, we can investigate the species of Baekje's cotton and ancient Korea cotton's influx.

• The Korea Journal of Herbology
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• v.34 no.1
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• pp.117-124
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• 2019

Objective : Chronic acid reflux esophagitis (CARE), one of gastroesophageal reflux disease (GERD) is increasing worldwide. Coptidis rhizoma extract (CRE) is a traditional herb that cures a variety of diseases. This study was conducted to evaluate the protective effect of CR on rats with chronic acid reflux esophagitis. Methods : The antioxidant activities were evaluated through radical scavenging assays using 2,2-diphenyl-1-picrylhydrazyl (DPPH) and 2,2'-azino-bis (3-ethylbenzothiazolin-6-sulfonic acid) (ABTS) radical scavenging assays. CARE was surgically induced in 5-week-old male SD rats by ligating the border between forestomach and glandular portion with a 2-0 silk tie and covering the duodenum using 18-Fr $N{\acute{e}}laton$ catheter. To evaluate the esophageal protective effect of CRE, rats were divided into 3 groups: Nor (normal rats), Veh (chronic acid reflux esophagitis induced rats), CR (chronic acid reflux esophagitis induced rats treated with CRE 200 mg/kg body weight). Results : The administration of CRE significantly prevented the mucosal injury of the esophagus tissue and histological findings improved the esophageal lesion. It has been shown that inflammation is prevented by the increase of antioxidant-related factors (Nrf-2, HO-1, SOD, catalase, and GPx-1/2) through the antioxidant pathway of esophageal tissue. The administration of CRE reduced the increase of serum peroxynitrite ($ONOO^-$) and markedly reduced the protein expression of inflammatory mediator such as $NF-{\kappa}Bp65$, $p-I{\kappa}B{\alpha}$, iNOS, and IL-6. Conclusions : Overall, these results suggest that CRE administration confirmed the protective effect of esophageal mucosa, suggesting that it is a potential treatment for chronic acid reflux esophagitis.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• Journal of Conservation Science
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• v.28 no.1
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• pp.21-27
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• 2012

In the Chosun period, the noble class usually buried the dead bodies in the lime-covered tomb. Recently their costumes are excavated while maintaining the shape. However, the textiles discovered from the inside have been degradated by a body and moisture. To conserve these textiles one of the most important thing is how to clean these textiles right after the excavation. The purpose of this study is to examine the effects of wet cleaning to minimize the color change of textile remains. For this purpose, silk and cotton were dyed with natural dyes (7 red, 1 blue, 6 yellow, 4 green and 4 purple colors), then they were kept for 6 months with pork meat at $10^{\circ}C$, and were washed by four cleaning solutions (water, anionic surfactant (SDS), non-ionic surfactant (Triton X-100) and natural surfactant (saponin)) at $20^{\circ}C$ and $40^{\circ}C$. The color change was evaluated by color difference (${\Delta}E$) between non-treated and after washed samples. From the results, it was found that the color changes are significantly different depending on the washing temperature, textile material, the cleaning agents and the type of dyes.