• Journal of architectural history
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• v.17 no.5
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• pp.71-94
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• 2008

This study examines the examples and changes of wooden member terms in Yeonggeon-euigwe(營建儀軌) in the era of Joseon Dynasty. As a result of examining examples, about 240 wood member terms were found on the basis of phonetic value and examples different from today's term use were also confirmed. Wood member terms were derived in variety and synonym and different style, that is, coexistence or transition of several notations as the term indicating the same member was found. Derivation of detail terms has the characteristic increasing on the basis of morpheme and formation of different notation followed Chinese notation or was caused by complex coinage features like a coined word of Korea by the meaning of a word and borrowed character notation borrowing sound and it is also related to the specificity of that time which had dual language system. The typical examples without different style for long were pillar, rafter, door and window. Examples with active generation and selection of different styles included beam, capital and bracket-system terms. Different styles were caused by the combination of several notations including borrowed character in the process of Chinese character notation borrowing sound, Korean unique character emphasizing and limiting combination of 木 (wood) with side of character and Chinese. Period showing remarkable change of example notation was the compilation of ${\ll}$the Hwa-Sung-Sung-Euk-Eui-Gue${\gg}$ 華城城役儀軌. ${\ll}$the Hwa-Sung-Sung-Euk-Eui-Gue${\gg}$ is the representative type uigwe made by printed type not by handicraft. Printing by type accompanies unification of the shape of a character necessarily and it was considered that it resulted in the unification of character of different style, the number of strokes and minute difference of strokes, and it was interpreted that common use of intentional notation with the unification of the shape of a character was achieved.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.2
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• pp.357-370
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• 2010

This study presents the basic resources for the enhancement of the competitiveness of the Korean fashion brands in the Chinese fashion market. They are composed of the differences and common points of clothing styles in Seoul, Beijing, and Shanghai, by analyzing the style comparatively. The research was performed by taking pictures of the Summer 2009 street fashions, from July $1^{st}$ to July $15^{th}$ 1999 (10 am to 5 pm). Among the data about the three cities, 200 photos were selected of women in their twenties and thirties, respectively. The disparity of regional preferences were noted in the fields of easy casual, romantic casual, sports casual, character casual, classic style, and feminine style. There were no specific differences in style among the three cities in the easy casual and classic style. The romantic casual after the easy casual were more prevalent in Seoul, as compared to the two cities in China. The neat style was more prevalent in Seoul. In Beijing the feminine style after the easy casual were preferred. The conservative style was more preferred in Seoul, while the body exposed style was preferred in Beijing and Shanghai. In Shanghai, the character casual was preferred and shows the similarity to the fashion style of Seoul, rather than Beijing. The high exposure of the body in romantic casual and feminine styles was more remarkable in Beijing and Shanghai. The frequency of the character casual that emphasized individuality with a unique style was relatively high in Shanghai. Seoul, Shanghai, and Beijing showed a similarity in the acceptance of fashion trends and preferences in clothing style. However, the fashion coordination in Shanghai and Beijing was different from Seoul.

• Journal of the Korean Institute of Telematics and Electronics B
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• v.33B no.4
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• pp.63-71
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• 1996

In this paper, a variable length block code for real time compression and decompression of hanguel and chinese character bit map font is proposed. The proposed code shows a good compression ratio in complete form of hangeul myoungjo and godik style and chinese batang and doddum style bit map font. Besides, a compression and decompression ASIC is designed and simulated on CAD. The 0.8 micron CMOS sea of gate is used to implement the ASIC in amount of 5,200 gates, and it runs at simple hardware and compress and decompress at 33M bit/sec at maximum, which is ideal for real time applications.

• Cross-Cultural Studies
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• v.21
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• pp.213-254
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• 2010

The goal of this thesis is to make a comparative study about the variant form of the Chinese character in the five sorts of old maps drawing outside of the main gates of old map including DeDongYei-jido. The main task of this thesis can be classified under three heads - (1) introducing the literature of comparative study in the five sorts of old maps including DeDongYei-jido (2) classification of variant form in the five sorts of old maps (3) characteristic of variant form in the five sorts of old maps. In this thesis, aspect of variant form is classified under six head - (1) variation of the whole shape of the character (2) taking place the variation in both sides of Chinese character (3) taking place the variation in part (4) taking place variation in the strokes of the Chinese character (5) misusing different characters (6) changing different characters. This thesis explains some characteristic of variant form - (1) simplification of the shape of characters (2) using the Hou-qi-zi(後起字, Chinese character which is actually the same but made the next) (3) replacing the overlapped both sides of Chinese character with omit mark (4) a wrongly written character (5) discovering the variant form such as variant form of 廣, 广 variant form of 廛, variant form of 院 which was not recorded in Chinese literature. From now on, there should be some collections of variant form of Korean style and study. we are going to have to standardize aspect of variation and rule of variant form in old maps until we have to make some ways to recognize the block letter.

• The Journal of Natural Sciences
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• v.19 no.1
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• pp.113-139
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• 2008

This study for hair, traditional ornamentation and make up style of Korea, China, Japan. Their special aesthetic character of hair ornamentation and styles are similar difference of costume aesthetics. First we study about hair style of three countries We can find their different development characteristics of aesthetics and customes, cultural style of three countries. It is translated plain and simple for Korean, exaggerative and decorative for Chinese, romantic decoravive and decoration of Tang Dynasty influnced for Japanes. All styles are showed in modern oriental styles.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.17 no.11
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• pp.1175-1184
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• 1992

A new classification method and recognition algorithms for printed Korean and Chinese character is studied for Korean text which contains both Korean and Chinese characters. The proposed method utilizes structural features of the vertical and horizontal vowel in Korean character. Korean characters are classified into 6 groups. Vowel and consonant are separated by means of different vowel extraction methods applied to each group. Time consuming thinning process is excluded. A modified crossing distance feature is measured to recognize extracted consonant. For Chinese character, an average of stroke crossing number is calculated on every characters, which allows the characters to be classified into several groups. A recognition process is then followed in terms of the stroke crossing number and the black dot rate of character. Classification between Korean and Chinese character was at the rate of 90.5%, and classification rate of Ming-style 2512 Korean characters was 90.0%. The recognition algorithm was applied on 1278 characters. The recognition rate was 92.2%. The densest class after classification of 4585 Chinese characters was found to contain only 124 characters, only 1/40 of total numbers. The recognition rate was 89.2%.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.97-114
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• 2009

The purpose of this thesis is to contribute to the fashion industry of Korea and China by providing the basic informations of Korean fashion company planning to launch into the Chinese fashion market, and also presenting the Korean fashion style to the China, by the way of searching the sameness and differences of the casual style. The direct picturing method and comparative analysis were applied for the methods of study. The whole body pictures were taken from the major fashion streets of Seoul and Shanghai, then clear 250 photos were selected in each city. The period for two weeks from 1st, July to 14th, July 2008, and from 10AM until 5PM. The results of study are as follows. The sequential order of frequency is easy casual, jean casual, romantic casual and character casual in Seoul and Shanshai. In case of easy casual, there were many similarities of the preferences in the items, colors and coordinations, while showing the differences in the styling of the clothing. Taking the jean casual, there were no specific differences in items between two cities except the styling of clothing in which the tidy style were more prevalent in Seoul, while the sexy style were more predominant in Shanghai. The main item of romantic style was the one-piece dresses. This was preferred in the style of A-line or H-line with short length, in Seoul while X-silhouette showing the body line with knee-length skirts were more popular in Shanghai. Finally the frequency of character casual is below 5% in both cities. In the items, the skirts were more preferred as a bottom in Seoul in contrast with the pants being more prevalent in Shanghai, the sleeveless top popular in both cities. The modest style were noted in Seoul, the sexy style were more prevalent in Shanghai. However many similarities between two cities were found in the speed of acceptabilities of fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.2
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• pp.208-219
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• 1999

The costume style of Turfan had changed three times which were the period of peculiar style the period of Kochang style the period of influence of T'ang's culture. Before the founding of Kochang country the costume style of Turfan was two piece style. It was a character of nomadic people's clothes. Tops were tunic and caftan. The method of adjust caftan were two types. The one is wrapping toward left so the right edge of the top covers the left. The other is wrapping toward right. Bottoms were pants and skirts. This period was characterized by the traditional style. I called in it the period of peculiar style After the founding of Kochang country style as Kochang style. In this period Silkroad was so activated that cultural exchanges between many people and materials passed through Turfan. Turfan's culture soaked up the products of civilization of chinese and western Turkestan. Chinese and western Turkestan's costume influencd under the direct control of T' ang dynasty. Such an aspects were reflected the Trufan's costume. The Trucan's costume had changed into the foreign style that was the T'ang's costume. It was the period of influence of T'ang culture.

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.3
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• pp.73-84
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• 2015

Analysis of design preference to Korean and Chinese casual style were made targeting Chinese female students in Korea. The following conclusion was derived from the result of final 300-copy survey data, using SPSS 18.0 program. The data were analyzed by frequency, t-test, chi-squre independence test, ANOVA and Scheffe test. Firstly, when comparing change of design preference before the stay in Korea with after the stay in Korea, the biggest change in their preference was character casual style, while the least change was easy casual wear. In terms of duration of stay in Korea, the biggest change was from the group of over 3 years, and in the order of the group of 1-3years, and then lastly less than 1 year, which suggests that the longer the duration of stay, the bigger the change. When comparing preferred clothing color before the stay in Korea with after the stay in Korea, both before and after the stay in Korea had the highest preference for achromatic colors. The frequency of change was mostly from achromatic color to other colors. In the preferred clothing pattern, 'plain' was their favorite one before the stay in Korea, while it turned to 'nature pattern' after the stay in Korea, followed by 'plain' one. In the textiles, the most preferred one was 'cotton', before and after the stay in Korea. However, their preference for cotton was lower after their stay in Korea than before the stay in Korea, and instead there was more preference for 'silk', 'synthetic fiber', and 'other' sources.