• Journal of the Korean Society of Costume
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• v.32
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• pp.225-242
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• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• Journal of Science of Art and Design
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• v.10
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• pp.111-159
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• 2006

The study is to examine the concept, origin, developmental process, and characteristics of 'Kioonsangdong,' or 'lively energy' to look into whether 'Kioon' maybe interpreted by modern sense and sensitivity and be applied to contemporary creative activities, and to explore whether the ideality of 'Kioon' may be transferred into visualization in pictures. The article defines the scope of 'Ki' as 'Ki(energy)' of artistry and sees the Wei, Chin and the South & North dynasties as its derived point. In Chapter I, before the examination of 'Kioon,' 'the relationship of Ki and Oon,' and 'interrelationship of Kioon (energy) and Sangdong (liveliness) are investigated. It is impossible to define Kioon in a word due to its being abstract. Thus, although it does not seem to be unlimited, focusing on putting a variety of concepts of Kioonsangdong in order, it classifies the subject, from which such Kioon reveals itself, into 'its former self,' things of the object,' 'character,' and 'brush and Chinese ink.' Then, with selected representative works for each category, it examines how Kioonsangdong is reflected in the works. In addition, it comprehensively argues on Kioon through presenting the points of Kioon theories by many an art critic and artist from the Wei, Chin and the South & North dynasties to modem China. In Chapter II, the study analyzes the Kioon-reflected works that have been examined in Chapter 1 in the light of the Kioon theories of 'blanks,' 'styles of brushmanship,' and 'techniques of Chinese ink,' and by selecting and analyzing representative artists and works in each era, it investigates how Kioon had been transformed as times had changed. In Chapter III, which is the core of the study, is on contemporary interpretations of Kioon. I intend to interpret Kioon as scent. In other words, through replacing abstract Kioon with the olfactory sense, actually realizing and forming it, and then visualizing it onto my own work, I attempt to grope for contemporary interpretations of Kioon. That is to say, I explain how Kioon is transformed into scent on the grounds that the origins of Kioon may be detected in literature and aesthetics. Besides, the study looks into the process that 'the scent of the olfactory sense' turns into 'the scent of art,' which I assert by contemporary interpretations, and shows in details that it may be visualized in pictures presenting quotes. In Chapter IV, it analyzes Kioonsangdong expressed visually as the scent of art in my own work in terms of the three techniques of blanks, brushmanship, and Chinese ink.

• Journal of Korean Home Economics Education Association
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• v.17 no.1 s.35
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• pp.131-151
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• 2005

This study analyzes the Textbook of Home Economics published by 'Hyun Kong-Ryeom(玄公廉)' that was the first textbook approved by the Korean Government and also disapproved by the Japanese Government. The results of the study are summarized as follows. 1. The Korean Government appointed the textbooks used in school. The textbooks of home economics appointed in 1910 were 'Hanmun Gajeonghak(漢文家政學)' and 'Sinpyeon Gajeonghak(新編家政學)'. But Japanese government disapproved these textbooks soon after it fully controlled Korea. 2. 'Hyun Kong-Ryeom' who published the textbook of home economics was from translator family that was famous since early Chosun Dynasty. The translator at that time with good command of foreign language introduced foreign books to the intellectuals of Chosun Dynasty. The textbook of home economics was also translated at that time. 3. 'Hanmun Gajeonghak', 'Sinpyeon Gajeonghak' and 'Sinjeong Gajeonghak(新政家政學)' published by 'Hyun Kong-Ryeom' were the translations of the same book. 'Hyun Kong-Ryeom' published the 'Hanmun Gajeonghak' written in Chinese character and 'Sinpyeon Gajeonghak' written in Korean and Chinese character in combination in December 1907, which were translations of the textbook of home economics published by 'Oh Yeo Ryoon(吳汝綸)' in China in July 1902. The textbook of 'Oh Yeo Ryoon' was the Chinese translation of the 'Sinseon Gajeonghak (新選家政學)' that was published by 'Shimoda Utako(下田歌子), in Japan in 1900. 4. The textbook of home economics written by 'Hyun Kong-Ryeom' was composed of five units, that is, general introduction, management of family members, family norms, family hygiene and home economy. The composition of the book by 'Hyun Kong-Ryeom' was quite different from that of 'Sinseon Gajeonghak' by 'Shimoda Utako'. This difference was made in the textbook of home economics of 'Oh Yeo Ryoon'. 5. The characteristics of home in the textbook of home economics by 'Hyun Kong-Ryeom' were summarized as follows. (1)Home as a national basic unit. (2)Home for education, (3)Home for rest, (4)Home for the consumption.

• Cartoon and Animation Studies
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• s.45
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• pp.321-343
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• 2016

The purpose of this thesis is to look through the political and social background of China preparing for a new era after getting out of the Communist Party of Mao Zedong, rapid inflow of the Western modernism and the avant-garde art arising in China with the focus of art works of Xu Bing, which contributed to the expansion of printmaking of China. Particularly, 85 New Wave Movement arose by young artists since 1985 and the China/Avant-Garde Exhibition held in Beijing in 1989 are the two important issues which reflect a new change from the traditional Chinese art. The artists of 85 New Wave Movement, who pursued a historical revolution and novelty, worked very actively by leading private exhibitions. Since the Cultural Revolution, the government owned the National Museum of Fine Art Beijing had exhibitions on a large scale displaying various visual arts such as performing art, installation, painting, sculpture but the Chinese government interrupted exhibitions two time due to bold performing art and unconcealed installation. Some artists were even taken to the police when performing art. Under these circumstances, Xu Bing, who majored printmaking, produced one of his major works, Books from the sky(1988), while he was working on various experiments focusing on the production process of printmaking and its repetitiveness. Xu Bing devised letters, carved them in trees and finally created approximately 2000 characters. Going further he displayed it as installation work, which means the developed characters go beyond a printed form, for audiences. This made him earn favorable reviews since it was a form of western art coupled with Chinese contents 'Chinese character'. After he received unfavorable reviews, however, he went to America leaving his last work in China, Ghost Pounding the Wall, in 1990, which was not able to exhibited. In those days, China society was going through a chaotic era thanks to the extinction of the Cultural Revolution and Deng Xiaoping's(1904-1997) reformation after the debacle of Tiananmen Massacre. This study looks into Xu Bing's artworks from his initial print works until he went to the US in 1991 and examines how he performed experiments utilizing reproductivity and plurality of prints tinged with Chinese traditional elements, and ultimately became one of the avant-garde artists representing the period.

• Cartoon and Animation Studies
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• s.36
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• pp.189-215
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• 2014

Since the launching of in 1963, a large amount of outstanding cartoons had been produced in China by the year 1980. During this period of time, international reputation was achieved with the extremely full expression and characteristic stories originated from Chinese culture. Decades of cartoons were produced ever year benefiting from support of the government in the last years. However, the quality and in fluence power dropped down comparing with the increasing productivity. The outward followed by examples of successful international box office most of the animation made in China. These cartoons did not obtain admitting internationally, or disclose any traditional speciality of China, although the domestic box office is considered to be fairly successful. The key factors to the successful cases should be analysed and researched rather than simply estimating, in order to achieve both artistic and commercial success. Factor of humor, as a key element of a successful cartoon is proposed in this thesis. Prior to the discussion, a general definition of humor factor is described through Henri Bergson's comedy concept, based on which the key factors of humor will be analysed. A classification system would be derived and introduced as a tool for the analysis of humor factors. According to Henri Bergson, Humor is determined by circumstance, language and character factors. Humor factors are divided into visual, scene and acoustic factors in this research taking the Speciality of cartoon media into consideration. It is the speciality that, in addition to the visual and language factors, multiple acoustic elements are also introduced in such a presentation pattern. This classification system would be considerably applicable to the analysis of humor factors in Chinese cartoons. In this study, around the year 2000 to share the Chinese animation masterpiece were analyzed by selecting and , and . This discussion about key factors of humor is likely to be beneficial to the development of Chinese Cartoons in the future.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.91-120
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• 2004

The Yan mountain area of the northern part of Hebei province and its local neighbor area is categorized main-distribution area of the northern bronze culture of the Eastern Zhou period(770bc~221bc). Recently, it was discovered the concrete character of the culture by a large scale excavation of the Yuhuangmiao cemetery at Jundu mountain. In the chinese scholarship, the cultural character of this area has established the independent cultural type that is distinguished from the Bronze culture of existing. In this paper, I have as a target of analysis remains relate to the Yuhuangmiao culture of the mountain area of northern Hebei in the Eastern Zhou period. And I would like to judge about diverse infuluential relationships of the character of the Yuhuangmiao curture and the Bronze culture, especially burials, burial customs and the characters of the excavated article. In particular, diverse infuluential relationships of the upper Xiajiadian culture Ordos bronze culture and The Central Plains cultural from The Yan state have a important meaning to understand about the character of the Yuhuangmiao culture and the beginning development process. Ultimately, it is peculiar characters of the Yuhuangmiao culture that a shaft gave with stone compartment protecting a coffin as a symbolic form, mask-burial customs such as mainly burials of the living with the dead dogs, a drum shaped jar, a tripod jar with two handles, a short bronze sword with circle hilt, Central Plains cultural bronze containers, bronze halberd and horse-shaped accessories of cartage horse trapping are distinguished from a local neighbor, the bronze culture from northern. The territory of time-space of The Yuhuangmiao culture can be dominately recognized bewteen the upper Xiajiadian culture and Ordos bronze culture. It is the Yan culture after the middle Warring States Period considering with the peculiar chacters which reflected by burials and bural customs and diverse infuluential relationships with peripheral cultures.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.206-220
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• 2023

In the royal publishing process of the Joseon Dynasty, the main species of wood used for woodblock printing was recorded as Jajak-mok. Although the name Jajak-mok may suggest Jajak-namu(white birch), it is presumed to refer to a different type of wood than Jajak-namu based on its recorded habitat and usage in historical documents. The aim of this paper is to clarify that during the Joseon Dynasty, the term Jajak-mok referred to Geojesu-namu (Korean birch), while Jajak-namu was called Hwa-mok(樺木). Additionally, this paper explores how the term Jajakmok eventually became the name of white birch, Jajak-namu, used today. In the mid-18th century, Japan used the character 樺(hwa) to refer to Beot-namu(Sargent cherry). As Japanese encyclopedias entered Joseon, the term Hwa-mok began to refer to both Beot-namu and Jajak-namu, which is also called Bot-namu. Since the pronunciation of Boet-namu and Bot-namu are similar, the two trees were eventually unified under the name Boet-namu. In the 20th century, the official names of three trees were established. According to notifications issued by the Ministry of Agriculture and Commerce of the Korean Empire in 1910 and the Governor-General of Chosen in 1912, Hwa-mok(white birch) was renamed asJajak-namu. In 1968, Beot-namu(Sargent cherry) retained its original name, and Jajak-mok(Korean birch) was remained . In modern Chinese character dictionaries, the meaning of 樺(hwa) is listed as "1. Beot-namu(Sargent cherry), 2. Jajak-namu(white birch)." From this, we can infer the historical background in which the names of these three trees were mixed up.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.11
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• pp.7485-7493
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• 2015

With the popularity of Korean Wave, making cultural goods specific for Hallyu tourists is getting more important. However, there are mainly daily life goods using celebrity character-based ones. Remarkably, there are only a few cultural goods especially in practicality-based clothing category. In particular, few cultural goods related to children's wear have been developed. Therefore, if children's wear is developed as Korean Wave cultural goods considering Chinese consumers' pattern and Korean Wave cultural goods, it will be helpful for revitalizing the Korean Wave and Korea's fashion market. In this regard, the purpose of this study is to develop children's wear design as Korean Wave cultural goods, thereby presenting empirical research results and fulfilling its following objectives: First, it is to identify the concept of Korean Wave cultural goods, to analyze the current status to finally establish data to develop Korean Wave cultural goods needed at this time. Second, it is to make real-life size works through development of designs to provide the empirical data for Korean Wave cultural goods market. For the research method and contents the review of the previous research, in-depth interview for qualitative research, and empirical research using market research and development of work were performed. Through the final research outcomes, Korean Wave cultural goods, the children's wear that can meet the consumer's needs were presented as empirical data. The study can be used as basic data for domestic fashion market and cultural product market and it is meaningful as a reference for the analysis on the Chinese consumers' needs.

• Journal of Physiology & Pathology in Korean Medicine
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• v.18 no.6
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• pp.1580-1584
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• 2004

On the basis of the widely collected fork prescriptions, long clinical practice of himself, together with integration of all the good points of earlier medical specialists, 孫思邈 wrote 『千金方』 of thirty volumes. Among them Volumes 『食治』 (Food Therapy) and 『養性』(Cultivating the Character) are especially meaningful for in gerontology. Thirty years after its completion, as a supplement, he wrote another thirty volumes of 『千金翼方』. Mr. Sun integrated his discoveries in the treatments of the aged patients, and his opinions for longevity into the Volumes 『養性』 (Cultivating the Character), 『?穀』(Fasting), 『退居』(Retirement), 『補益』(Supplementation). Thus he laid down the basic foundation for the gerontology of Chinese medicine. 『千金要方』 and 『千金翼方』 by Mr. Sun discuss mainly the prevention of illness for aged patients. As for the function of food therapy, he explains: 'Food can dispel evil elements of the body and settle down its organs. It can further bring pleasure to man's spirit and help the circulation of blood and breath.' He then propose the major method of food therapy: 'For a medical doctor, he should understand the causes of disease, then treat it with food. Only after the food treatment fails, medicine is employed.' He thinks that medicine does work in treatment, but it also creates imbalance in the body, and makes the latter vulnerable to outside harms. Therefore, a good doctor is the one who cures the disease and bring pleasure to the patient with food. He stresses that food therapy is always a priority. Mr. Sun prefers animal's organs in the food therapy for aged. For example, he uses powder of sheep's kidney to treat the lumbago. He suggests the viewpoint of 'Curing man's organs with animal's organs' and 'Strengthening man's organs with animal's organs,' and sets the theoretical foundation of 'Organic Treatment.' Mr. Sun's gerontology and food therapy received further development latter. The prescriptions contained therein had been widely used in 王懷隱's 『太平聖惠方』 and 陳直's 『養老奉親書』, both in the Song Dynasty. Eventually they had become a science of food therapy for aged patients.

• The Journal of Fisheries Business Administration
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• v.30 no.2
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• pp.1-23
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• 1999

In the Northeast Asian region fisheries agreements of the past regarding high seas as an agreement area were transformed or new agreements were introduced in order to conform to the EEZ regime. However, the existing joint regulatory zone which “open” status is somewhat similar to the high sea not only disappear, but also two new systems were established. To begin with, parties of the agreement claimed their EEZs to be from the territorial sea baselines to the extent set forth, problem of the fishery access of the other party under the agreement is to be solved on the principle of reciprocity and on recognizing of the catch results achieved in the past. In regards to the overlapping zones like neutral zone of the East Sea of Korea(Sea of Japan) and neutral zone to the south of the Cheju Island, provisional measures zones in the Yellow Sea and in the East China Sea, and transitional zone of the Yellow Sea special fisheries management systems reflecting the legal character of the zone involved are applied. Moreover, as fisheries agreements defining open sea as an agreement zone are not able to conform to the EEZ regime, so new fisheries agreements must be taken out from old systems and conceptions, and must be understood and enforced from the new point view. Therefore, countermeasures needed to do so should be developed, and their basic structure is as follows. Firstly, the basic concept of the EEZ regime requires that the coastal states have sovereign rights on their sea zones' natural resources and bear responsibilities appropriate to their allowed jurisdiction. Each Northeast Asian state should adjust the structure of fishing industries and employ advanced fisheries management system, and should make efforts toward such issues of the state policy as increasing fishery resources and preserving ocean environment. Secondly, measures should be developed to solve the international fisheries disputes which are to occur under enforcement of the new fisheries agreements system. In regards to the acts of violation the fisheries laws in the foreign EEZ the principle of jail sentence prohibition is established by the UN Convention on the Law of the Sea, and every fisheries agreement reflects this principle. Therefore, the present question is to consider concrete measures to enable the easy release of the seamen, who violated fisheries laws slightly and well-intently, through establishment and management of the guarantee fund needed to make collateral reasonable. Thirdly, Korean-Russian and Russian-Japanese fisheries relations were formed on the basis of the EEZ regime, since 1992 and 1977 respectively, and are expected to maintain mutually beneficial cooperative character. As for Korean-Chinese-Japanese fisheries relations, the operational problems of overlapping zones, and problem of the permits for EEZ mutual access should be solved on the basis of the principle of reciprocity and equity rather than unilaterally from any side.