• Journal of architectural history
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• v.33 no.1
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• pp.45-60
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• 2024

This study aims to examine the cutting traces remaining on the bracket tie beams of Sungnyemun gate, identifying the tools employed during the late Goryeo to early Joseon periods by specific processes, and deliberating on the timber shaping techniques utilized in advanced architectural construction during the late Goryeo to early Joseon eras. Through the research, it was confirmed that in the production of Sungnyemun Gate's bracket tie beams during the 14th to 15th centuries, both the timber splitting and ripsawing methods were used in conjunction. Moreover, the wood finishing process revealed the use of a plane. It can be inferred that the characteristics of the plane used during that time were not significantly different from those observed in the later period of the Joseon dynasty. The ripsawing and plane finishing techniques were evident in various parts of the bracket tie beams of Sungnyemun gate across the reigns of king Taejo and Sejong, indicating that the techniques involving ripsaw and plane were already prevalent in the late Goryeo period. Consequently, it can be inferred that the ripsawing and plane finishing techniques might have been applied in the construction of prominent government buildings in Hanyang(Seoul), including Gyeongbokgung Palace, and in the residences of royalty and nobility after the establishment of the Joseon dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.3_4 s.141
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• pp.403-413
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• 2005

The purpose of this study is to interpret the elegant dressing visualized in modem fashion on the basis of the concept of elegance in dress and its aesthetic characteristics from the holistic viewpoint. Elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding, considering from the documentary study. It is expressed visually through not only the carefully contrived dress but also a sort of aura of dressed body with skillful ease. The aesthetic values of elegance consist of luxury, nobility, refinement, femininity, harmony. To grasp the trends of elegant styles since 1990s, contents analysis of the articles related to elegance in Vogue has been done. As a result, they have been classified into four groups of elegant styles which are Classic, Elaborate Couture, Soft Minimalism, Kitsch Elegance. Classic Elegance and Elaborate Couture Elegance represent traditional ones with conservative viewpoint. Soft Minimalism Elegance is a modem version of elegance. According to postmodernism as a open system, even kitsch has been refined to keep accompany with elegance fur aristocratic taste of high class. As a result of this study, in fashion from the 16th century to the first half of 16th century, elegance has been one of the significant aesthetic categories, resulting from the absolute domination of taste of high society. However in the end of 20th century it seems to start to fade in fashion trends such as mass fashion, youth culture, casual fashion etc. Rather, it can be thought that elegance has been expressed as one of the aesthetic values in dress, by virtue of its value of high class as well as its conservative stability.

• The Research Journal of the Costume Culture
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• v.25 no.2
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• pp.130-144
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• 2017

The purpose of this study is to apply iconology to discover the symbolic system of imaginary animals focused on four representative auspicious animals in Korean folk paintings. Study methods included literature review of folk paintings, iconological analytics books, and articles. A total of 16 folk paintings of four auspicious animals in the Joseon Dynasty were analyzed using Panofsky's iconology. The four auspicious animals were Yong(dragon), Bonghwang(the eastern version of the phoenix), Shingoo (divine turtle), and Kirin(one-horned combination of a dragon and horse). According to iconological analysis, Yong is a typical symbol of royal authority, a deity of water as an object of respect with a remarkable talent of transformation, and in iconographical interpretation, represents reverence for transcendent power. Bonhwang is the symbol of a king, sun worship, the emblem of nobility and integrity, and in iconographical interpretation, the psychic bing in the sky. Shingoo is fortune prophecy, longevity and immortality, an envoy of deity, and according to iconographical interpretation, the organic view of the world. Kirin is a divine benign creature, a symbol of talent and honor, mediator between sky and earth, and in iconographical interpretation, an expression of Confucian ideology. This study produced three results. First, the four auspicious animals projected the human hope to overcome human limitations through divine creatures with mythical abilities. Second, they reflected everyday common hopes and values of pursuing fortunes and happiness. Third, the four auspicious animals' iconology was not independent of each other; it seemed to be common to and combined with each other.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.75-87
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• 2002

The nineteenth century was a watershed - the extreme point of difference in the style of fashion dress and in the roles men and women played in society. This conviction has its roots in the socioeconomic changes of the 19th century and the industrial revolution, and the new working bourgeoisie' value, fashion and taste were on the rise. The bourgeois, who was not considered as having infallible taste, was looking for its own style, while on the other hand it was competing with the nobility. Therefore bourgeois' own etiquette and taste were appeared. There was ideals which the middle classes were hungry for, and it became the basis of judging an individual. The bourgeois tried to get social approval and used fashion was the mean of it. Bourgeois women fashion has a funtion as a complete symbol of the status, wealth and leisure in a patriachal society. Not only the Bourgeois tried to control themselves and to achieve the virtue of moderation, chastity and obedience by the restrictive costume, but also extravagant and cumbersome dresses has a kind of compensative funtion against a sober and simple men's dress. There was a reformative movement to break out of the legal, economic and social restrictions within the confines of respectable Victorian Society. The process of reform was long and slow for not only did laws be changed but the barriers of prejudice in a society convinced of man s mental and physical superiority had to be overcome. But even though there were many difficulties, a small number of progressive women challenged the social recognition and role of women and decisively refused the restrictive and ostentative fashion. Victorian costume was also criticized in the medical and aesthetic aspect for their impracticality. As a result, more funtional and practical women's clothes has appeared, but it have resulted in a peculiar hybrid of traditional female attire in combination with the more uncomfortable aspects of men's clothes. However it was becoming an essential look for new women who were the equals of men and wanted to be treated as such.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.73-85
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• 2006

The purpose of this study is to consider the characteristics of beauty culture in the latter period of Chosun Dynasty from the viewpoint of public morals and find out how characteristic beauty culture was developed along with traditional culture. Therefore, the clothes, the make-up, the style of beard and hair were examined and the beauty culture of women in the latter period Chosun Dynasty was considered. The changes of the beauty culture on the genre painting and the characteristics of the latter period Chosun Dynasty were analyzed. Conclusions are as follows ;First, in case of woman dress, the Korean Jergori was short and the Chima was too long. Due to the diversification of wearing, the underpants play as a decorations. Second, the hair which focus on the cleanness and the sanitation and the skin maintenance method were important. The make-up focus on make-up with powder which emphasis on the slim and round eyebrow, the small and thick lips for the beauty look of the latter period Chosun Dynasty. Third, a unmarried woman did the braids('Taun Muri') and a feme covert did 'Unseen Muri'. As people cling to the big and head of hairs gradually, the chignon('Terae Muri') was in fashion. The beauty culture in the latter period of Chosun Dynasty clothes and cosmetic treatment style were generalized through nobility, common people, lowly people. The imitation mentality which follow after Gisaeng style that led the fashion of that period was shown up. With understanding the beauty culture of the latter period of Chosun Dynasty, the study on the traditional beauty culture should be revitalized. This study help to uplift the pride on Korea traditional culture and to promote the globalization of Korean culture.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.10 no.8
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• pp.1401-1406
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• 2006

Mobile Ad-hoc networks have recently attracted a lot of attention in the research community as well as in industry. Although the previous research mainly focused on various of Ad-hoc in routing, we consider, in this paper, how to efficiently support applications such as variable Goocasting basd on Ad-hoc networks. The goal of a geocasting uotocol is deliver data packets to a group of nodes that are located within a specified geocasting region. Previous research that support geocast nice in mobilie computing based on Ad-hoc have the non-optimization problem of data delivery path, overhead by frequent reconstruction of the geocast tree, and service disruption problem. In this paper, we propose the mobility pattern based geocast technique using variable service range according to the nobility of destination node and resource reservation to solve this problem. The experimental results show that our proposed mechanism has improved performance of Connection & Network Overhead than previous research.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.137-149
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• 2002

This study was made to investigate the differences in Korean woman's perceived makeup image and self-consciousness according to their expectation level in socio-psychological effect of makeup, and to gather information needed for the better understanding of cosmetics consumers and more effective marketing activities of cosmetics industries. Normative-descriptive survey method using questionnaire was employed for the present study. The survey was conducted in August 2001 and the sample consisted of 942 women between the ages of 18 and 50 residing in Seoul and Kyungi province. Data were analyzed by SPSS package. Factor analysis, ANOVA, and MANOVA were employed for the analysis of the data. The results are as follows : (1) Six factors emerged from the data related to the category of expected socio-psychological effect of makeup. Those factors were named as "increasing positiveness", "refreshment", "covering weakness", "self-expression", "consideration for others", and "the tool for self-change". Four factors were found in the category of makeup image, and the factors were named as "refinement", "nobility", "favorable impression ", and "personality ". (2) There was a tendency that those who highly expect the socio-psychological effect of makeup have more positive self-image. Considering this differences in self-image according to the level of expected socio-psychological effect of makeup. service activities for the consumers' positive opinion and attitude to the effect of makeup are needed, and it seems that those service activities will have a good influence on the consumers' emotional health. (3) Subjects with higher level of social anxiety showed higher expectations in refreshment, covering weakness and self-expression. Considering this trend, marketers have to make an constant effort for the variety of cosmetics and makeup manner by which consumers satisfy their expectation in makeup. It seems that the satisfaction of their expectation on the help of makeup effect will contribute to lessen social anxiety, and to get emotional stability. (4) Subjects with higher personal self-anxiety showed higher expectations of the effect. "increase of positiveness". Therefore, if the product advertisement imply the content of increasing positiveness effect of makeup, it might appeal more easily to their consumers.imply the content of increasing positiveness effect of makeup, it might appeal more easily to their consumers.

• International Journal of Costume and Fashion
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• v.4
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• pp.63-80
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• 2004

Elegance in dress has been mentioned as an important term for explaining a beauty of dress and a fashion image through the times in the history of dress. Nevertheless, it has been spoken indeterminately without analyzing the accurate meaning. In addition, almost all the scattered discourses of it were very limited to womenswear. The purpose of this study is to provide a framework for a better understanding of the concept of elegance and its aesthetic characteristics expressed visually on dress from the holistic viewpoint, focusing on male elegance in dress. To obtain the purpose, the documentary study and the practical analysis were carried out. Elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding. It is expressed visually through not only the carefully contrived dress but also a sort of aura of dressed body with skillful ease. Its aesthetic values consist of luxury, nobility, refinement, femininity, harmony. Though male elegant styles had already existed throughout the history of dress, it was Mannerism in the 16th century which expressed ‘studied elegance’ for the first time. On the grounds of both the classification of periodic styles and the periodic values, they can be defined and categorized into Mannerism Elegance, Salon Elegance, Modern Elegance Since Dandyism, Aestheticism Elegance. In the late 20th century they can be recognised as Classic Dandyism Elegance, Soft Casual Elegance, Elaborate Heroic Elegance. Although male elegance in dress has been visualized in different ways depending on periodic values, it has essentially been a refined beauty of high class which was valued until recent years. Its common plastic features appear as soft shapes, subtle colors and delicate fabrics modulated with exquisiteness and well-adorned appearance, graceful behavior make elegant styles completed. All of elegant styles have m common with refinement, harmony as main aesthetic values.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.132-150
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• 2010

The purpose of this research was to study the forms and styles of the costumes in the Peking Opera of China and to figure out the symbolism and aesthetic value of the costumes. The research was done using documentary Peking Opera, the costumes can be seen as a special kind of language which audience members can clearly understand it. Therefore, the spectators can understand instantly the sex, age, personality, and position of the character by seeing the style, color, and patterns of the costumes. As a result, one can call the costumes of Peking Opera, "picturizing costumes". The typical costumes are mangpao, pi, kao, xiezi, yi. Mangpao is the ceremonial robe often used by emperors and officials. It can be worn by lao sheng, xiao sheng and wu sheng. Bright yellow and apricot yellow colors are used exclusively by those who play the parts of emperors, foreign rulers, princes and the Monkey King. The next costume style to be discussed is Pi. Pi is the informal dress for the emperor, and young officials that are involved in civilian or military duties. The third costume style to be explored is Kao: the garment that a stage warrior wears when going into battle. This warrior can have three kinds of armor: the hard armor, the soft armor and the newly revised armor. Fourthly, the costume that is the most commonly worn, xiezi, is examined; it is the informal coat for every one regardless of one's age, sex, role, or level of nobility. Finally, the last of the typical costumes is Yi; this costume category includes numerous kinds of costumes, such as kaichang, baguaiyi, fayi, guanyi, yulinjia, kanjian, toupeng, jianyi, etc

• Archives of design research
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• v.14 no.4
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• pp.127-136
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• 2001

The decay of the Old Chinese Dynasty, Tang in the 10th century caused the collapse of the political order of Southeast Asia and the neighboring countries began to try to go their own way. Japan abolished the system called "Yudangsa" and nourished the culture of Japanese style. The fang age had a respect of the′Japanese Character Culture", in which when we expressed the sound, they developed the Japanese letters ,that is, reduced Chinese characters, and systematized them as linguistic symbols and developed them into one of letter design styles. The Japanese letters which was mainly the media of the expression of the female literature were delicately shaped ′as natural materials, which finally resulted in Japan′s oldest letter modeling, Asite Letter Design Style. The Japanese letters were blended with ′Reeds around the Lake", "Sea Birds", "Birds′flying", and "Rocks", mixed with the overall shapes of the objects and assimilated into one part, and became a means for the main entertainment of the nobility such as "Singing Festival", "Conference", and "Ceremonial Events" According to the relics, the Japanese feeling of a small cosmos was represented with the fabulous skills of artifacts. In audition, "Play Painting"in the countryside is also a kind of Asite the ordinary people accepted as wit and satire. What we will have to notice is about exchange of the Chinese letter designs, when the thought focused ′on the letter design, Jobcheso was popular. The letter design Jobcheso is -a kind of letter design which represents -natural objects and was popular at the time of Yukjo Dynasty, and there are some documents of that period left both in Japan and Korea. "Hyojedo" in Korea is supposed to have been influenced by the letter design. Asite- is also considered to have been "Japanese Letter Jobcheso." Therefore, the purpose of this study is to look into the origin of the letter designs in the Chinese character culture circle, in terms of the letter design of Jobcheso.