• 자연과학논문집
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• 제19권1호
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• pp.113-139
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• 2008

본 연구에서는 한국, 중국, 일본의 전통 헤어스타일과 머리장식, 메이컵의 특성에 대하여 비교 정리해 보았다. 각 나라의 전통 헤어스타일 장식 등의 비교를 통하여 현대패션에 새롭게 해석된 오리엔탈 룩을 이해할 수 있다. 한국의 스타일은 소박하고 단순하며, 중국은 과장적이고 장식적이며 일본의 스타일은 당나라 장식의 영향과 로맨틱한 소녀적 꽃장식을 볼 수 있었다.

• Ocean and Polar Research
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• 제42권4호
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• pp.283-292
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• 2020

Oncaea prendeli Shmeleva, 1966 is redescribed here based on a specimen collected using a fine-mesh net in the epipelagic layer in the south sea of Jeju Island, Korea. The Korean specimen is generally similar to Mediterranean specimens in terms of morphological characteristics, but it shows a few minor differences in a slightly larger length-to-width ratio for the distal endopod segment of the antenna, a relatively shorter caudal seta IV, and additional ornamentation on the maxillule and maxilla. This species is distinguishable from the most similar congeneric species, O. tregoubovi Shmeleva, 1968, and three species of the genus Spinoncaea Böttger-Schnack, 2003 by the distal and lateral armature of the antenna, ornamentation on the female maxilliped, spine number on the endopod of leg 2, and proportional length of setae on the caudal ramus. Moreover, spine lengths on the exopods of legs 2-4 are proposed as new morphological characters for the identification of congeners. This is the first record of O. prendeli in Korean waters.

• 패션비즈니스
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• 제14권2호
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• pp.95-109
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• 2010

The goal of this dissertation is to analyze the formative characteristic and the aesthetic values of Romantic style. To attain the goal of this study, the selected objects are the Romantic styles that were prevalent from the 1830s to the 1880s. The methodology for this study consists of literary research, aesthetics, dress and case study based upon the analysis of the 19th century dress. Based upon the theoretical study, two results are derived from the analysis of Romantic style in $19^{th}$ century dress. First, the formative characteristics of Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The suppression of body is embodied by two ways. One is tightening body parts, such as the off-the-shoulder line and the corset, and the other is applying weights on body through the wearing of layers of petticoat, crinoline and bustle. The characteristic of the fixed form created the fixed silhouettes of women's dress, for example, an X-silhouette formed with wide shoulders created by big puffed sleeves, narrow waist by corset, and wide hemline of voluminous skirt and petticoats. In addition to the X-silhouette, the bustle style created fixed h-silhouette. Volume in the women's dress were visually expressed by big puffed sleeves, a huge skirt and petticoat made with gathers, pleats and flounces, crinolines and a bustle. Ornamentation was used to express an elegant and fantastic style not only by using luxurious materials in various colors and patterns, but also by applying sumptuous details and trimmings. Second, the aesthetic values of Romantic style dress are subordination, sensuality, and maternity. Women's dress of the 19th century not only restricted free movement and symbolized men's wealth and status, but also was used as an important tool for seducing men by exposing and accentuating the sexual body, thus becoming a symbol of fertility as a metaphor of pregnancy and uterus. These aesthetic values represented in dress incorporated the contemporary requirements of women of the time.

• 대한가정학회지
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• 제29권2호
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• pp.87-120
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• 1991

The purpose of this study was to identify the design characteristics of the multi-leveled chest(jang) which was the main furniture of the master bedrom(anbang) in the Chosun Dynasty. The major findings and conclusions were: 1. The front view of the multi-leveled chest were composed of a protruded top panel(kaepan), drawers, folded doors, sectional panels(chwibyok kan and morum kan) and base stand(madae) in general. Variety in the front view found more frequently in single level chests than bi- or tir-level chests. 2. The overall dimensions of each type of chest increased with increase in number of levels, but the height of the sectional parts decreased. That is, the overall proportion of the single level chests were 10 : 9, bi-level chests were 5 : 6, and tri-level chests were 2 : 3. The proportion of 1 : 1, 4 : 5, 1 : 3, 1 : 4, 1 : 5 were found often in the sectional parts such as drawers, doors, chwibyok kans and morum kans. 3. In general, the surface treatments were subtle. Carved or inlayed ornamentation were seldom seen, and most chess were finished with clear lacquer to show the natural wood grain. There were no distinctive characteristics of surface ornamentation characteristic of any one type of chest. 4. The general patterns of the metal ornaments were spade(yowidu), round, bow, rectangular(yakgua), bat and flower shapes. The multi-level chests were decorated with more metal ornament types compared with the single-level chests. 5. In conclusion, there was more variety in all the design elements in the single level chests compared with the other types of chests. The bi-and tri-level chests were quite stylized in composition, size, proportion, surface treatment, and metal ornamentation.

• 복식
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• 제60권7호
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• pp.47-60
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• 2010

The goal of this dissertation is to analyze various Romantic styles appearing in modern fashion based upon the 'Difference' theory developed by Gilles Deleuze. A new framework for analyzing the changes of dress style based upon the 'Difference' theory derived from Deleuze's theory and from his interpretations of paintings was developed. The characteristics that represent 'difference' in change of dress style are deformation and hybridization. They are derived from the Deleuze's interpretations of 'difference' represented in the paintings by Bacon. The aesthetic values of the Romantic style in the 19th century dress are subordination, sensuality, and maternity. And the formative characteristics of the Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to deformation and hybridization and the results are as follows: first, deformation caused by exaggeration or emphasis in the modern Romantic fashion creates changeability of the form, destruction of the 19th century style, volume, and ornamentation. Second, hybridization by combining heterogeneous characteristic between times and genders (for example, the 19th century and modern times or masculinity and femininity) frees body from the dress and changes the dress silhouettes and ornamentation. Thus totally new and different Romantic style is created. The Romantic style in modern fashion changed into the appropriate style to the modern society under various conditions such as designer's will, postmodernism, changes of femininity and technology. It can be said that this is an example of the Deleuze's 'becoming' theory.

• 한국의상디자인학회지
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• 제16권1호
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• pp.27-39
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• 2014

The purpose of this study is to investigate the formative characteristics and the aesthetic values of denim dresses from the 19th century until the $20^{th}$ century and analyze those changes shown in Paris Milan London New York collections from 2001 S/S to 2013/14 F/W. The results of this study are as follows; 1) In the mid-$19^{th}$ century, the denim pants were working suits. In the 1920's, they started to be recognized as ordinary clothing and they were supplied to women in World War II. In the 1950's, denim pants stood for youth and resistance, and they became popular among teenagers. In the 1960's, hippies who protested against the Vietnamese War would wear worn-out denim pants symbolizing peace and freedom. As they became more common in the 1970's, people all around the world wore the clothes. In the 1980's~90's, the waves of high class brand fashions brought in sensualism, extravagance, reactionary tendency, and so forth. Consequently, the aesthetic values of denim dresses have connotations of practicality, resistibility, ornamentation and femininity. 2) Practicality in recent collections is represented in classic fashion which features typical details and raw denim and modern fashion which is made with glossy denim and minimized details. Resistibility is represented in avant-garde fashion which features deformed or over-layered jackets and pants with damaged denim and vintage fashion which is made with wash-out and wild stone denim. Ornamentation is represented in ethnic fashion which is made with wash-out denim and ethnic prints and romantic fashion which features details such as ruffle, frill and shirring as well as lace and flowery decorations. Femininity is represented in sexy fashion which designs to expose or to focus in women's body and elegant fashion which is made with soft and glossy denim and hourglass silhouette.

• 한국의상디자인학회지
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• 제19권3호
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• pp.99-108
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• 2017

In modern society, the succession and development of tradition can be an enabler of the state in the flow of culture, and the process of modernizing traditional costumes is meaningful work. Neckties are essential in modern Korean men's wear, and they are an important part of men's ornamentation. Accordingly, this study aims to present a necktie design that applies the traditional men's ornaments such as the Ip, Ipyoung and Manggeonsik. The research method is based on a literature review and presents four Korean necktie designs via Adobe Illustrations. As a result of analyzing the beauty of the traditional Korean men's ornamentation, it was categorized into rhythmical beauty, emphasis beauty, and natural beauty. Applying this to necktie design, Design 1 imagined the silhouette of a man wearing a Got and Durumagi. This applied emphasis beauty. Design 2 applied the shaking images of Got and Got-kkeun to apply rhythmical and emphasis beauty. Design 3 applied a man's upper body silhouette and the shape of wearing a Got. This was to apply natural beauty and emphasis beauty. Design 4 applied the shape of Got-kkeun and Gwanja to rhythmical beauty and natural beauty. The significance of this study is that the development of necktie designs using formative Korean elements can be a part of efforts to recognize the possibility of traditional Korean culture and to explore developmental directions under the current situation in which Western clothing is accepted without thought. It is a good idea to suggest the possibility of the modern use of Korean men's ornaments.

• 대한본초학회지
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• 제35권1호
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• pp.9-18
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• 2020

Objectives : We tried to establish standards for genuine by discriminating 3 kinds of pollen and spore herbs that are highly to be mixed with each other. Using an scanning electron microscope, we prepare a standard for discriminating external morphological characters of minute herbs, thereby contributing to the stable supply of genuine herbal medicines. Methods : Standard samples were confirmed by literature review on external morphological characteristics of original plants and herbal medicines, and collection and identification of original plants. The herbal medicines on the market were purchased and classified with using naked eye observation and magnifier. Finally, micromorphological identifications were conducted using an scanning electron microscope. Results : 1. Pini Pollen was clearly distinguished by its relatively medium size and a pollen grain with two swollen reticulate sacci at both ends. The verrucate ornamentation on the exine surface of the corpus and a sunken leptoma germ pore may be used as a discrimination criteria. 2. Typhae Pollen was distinguished by its relatively small size and a saccus on the end of a pollen grain. Reticulate ornamentation of exine surface of the corpus, and a slightly clear ulcerate germ pore can be used as a discrimination criteria. 3. Lygodii Spora was distinguished by its relatively large triangular-ovate shape and trichotomous fissure. Verrucate-tuberculate ornamentation of exine surface and trilete aperture could be used as a discrimination criteria. Conclusion : These results indicate that the use of electron microscopy is very effective for discriminating the external morphology of minute herbal medicines.

• 한국실내디자인학회논문집
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• 제14권2호
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• pp.3-11
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• 2005

The subject of this paper is to find out the characteristics of Michael Graves' housing design. I collected the information of his designs and teamed his design language through his works on different time. I chose five actual housings for analysis which were built since 1960 when he have started his career. Though analysis of the exterior view, plane figures and the total arrangement photos, I could reached the conclusion. From analysis of this research I could figure out the characteristic of Michael Graves housing design as follows. During his whole working career $(1960\~present)$, his design style has went through distinctive characteristic changes that can be divided into: 1960s to early 1970s, mid and late 1970s, 1980s to as of now. 1960s to early 1970s, during this period his works implicated transparency, openness, consistency, complication, and contrast on space, abstraction, white-color and metaphor. mid and late 1970s, showed the white-color figure put together with geometrical structure and post-modernism styles such as ornamentation, natural and metaphor. 1980s to as of now, implicated ornamentation, natural features, historic background, interconnections, variety, symbolism and tradition.

• 한국가정과학회지
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• 제3권2호
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• pp.135-153
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• 2000

Shoes originated from the practical purposes : to protect feet from heat, cold. etc., and developed into various shapes. representing ornamentation and hierarchy. It was revealed that the aesthetic value was differently manifested from the practical one by different natural environments and socio-cultural Phenomena of the times in the East and the West. Comparing shoes in the East with those in the West, this study finds out the origin of shoes in the East and the West, and shapes and characteristics of shoes through the changes of times. Investigating various kinds of shoes in the East and the West, it also finds out the differences in status representations. Shoes are classified into the following styles : in the West. (i) sandal in which the instep was almost exposed, tied with strips and fixed with band, (ii) closed shoes covering the instep, (iii) boots that arose above the ankle: in the East, (i) shoes without shoe neck (리) boots with shoe neck (화) and wooden shoes (극). Status was also represented in shoes. In the West. the status difference was manifested mainly by jewelry or embroidery ornamentation. In particular, it was realized by the way they tied the shoes in Rome and by the length of the pointed front of the shoes in Romanesque and Gothic period. In the East, China, Korea and Japan, on the other hand, the use of shoes was regulated in detail by the official costume system, where material and color played an important role in marking the status.